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LIBRARY OF CONGRESS 



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SYSTEM 



VOCAL GYMNASTICS, 

A KEY TO THE PHONETICON, 

COMPRISING 

A VARIETY OF ELEMENTARY EXERCISES FOR DEVELOPING 
THE VOICE AND IMPROVING THE ARTICULATION. 



ANDREW COMSTOCK, M.D., 

THE PRINCIPAL OF THE VOCAL GYMNASIUM, AND THE AUTHOR OF A 

UNIVERSAL ALPHABET, A SYSTEM OF ELOCUTION, THE PHONETICON, 

THE PHONETIC READER, THE PHONETIC SPEAKER, A TREAIISE 

ON PHONOLOGY, AN IMPROVED EDITION OF THE EPITOME 

HISTORLE SACR.E, TYITH AN INTERLINEAR 

TRANSLATION, ETC. ETC. 



4*t>6 



PHILADELPHIA: 

PUBLISHED BY THE AUTHOR, Xo. 102 AHCH STREET. 

1854. 



f^ 



C 51 



Entered, according to the Act of Congress, in the year 1854, by 
ANDREW COMSTOCK, M.D. 



in the clerk's office of the District Court of the Eastern District of 
Pennsylvania. 



J. FAGAN, STEREOTTPER. 
C. SHERMAN, PRINTER. 



(2) 



INTRODUCTION. 




AN is designed for action. Na- 
ture has so constituted him, that 
both body and mind require daily 
exercise to develop their powers, 
and maintain them in a vigorous 
and healthy condition. The truth 
of this remark is manifest from 
constant observation and experience : those who lead active, 
bustling lives, conjoined with temperance and prudence, com- 
monly possess robust frames, and healthy constitutions ; while 
the sedentary and the indolent are enervated and sickly. 

We find the same results from the exercise of the mental 
faculties. He whose mind is constantly employed in the 
acquisition of knowledge, usually retains his mental faculties 
unimpaired to the last. But not so with the man of ease and 
indolence. After the meridian of life, the powers of his 
mind, with those of the body, become weaker and weaker; 
and he finally leaves the world as he entered it, — a child. 

The health and strength of the body, therefore, mainly 
depend on the number of muscles that are frequently called 
into action, and the degree of rational exercise through which 
they pass. Now there are few, if any, whose daily avocations 
are so varied as to bring into requisition all the muscles of 
the body ; hence, the necessity of gymnastic exercises. 

(3) 



4 INTRODUCTION. 

The term gymnastics, in its widest sense, signifies all bodily 
exercises ; in a more limited sense, " exercises systematically 
adapted to develop the physical powers, and preserve them in 
perfection, which constitutes the art of gymnastics, properly 
so called/' 

These exercises, when commenced in youth, develop the 
muscles, give agility to the limbs, and promote the various 
functions of the animal system : in this way they impart 
strength and consistency to the body, and lay the foundation 
of lasting health ; and even when commenced in manhood, 
they invigorate the frame, and brace it against the infirmities 
of age. 

By the frequent and energetic exercise of the muscles, 
they are brought completely under the control of volition, 
which is a powerful auxiliary to every variety of action. 
Hence, gymnastics are not only useful because they exert a 
healthful influence upon the body; but because they lay a 
good foundation for the easy acquisition of every mechanic 
art. 

From what has been said of gymnastics in general, it may 
readily be conceived that very important advantages may be 
derived from vocal gymnastics. 

Yocal gymnastics give the pupil complete command of the 
muscles of articulation, extend the compass of the voice, and 
render it smooth, powerful, and melodious. They not only 
call forth all the energies of the vocal organs, correct stam- 
mering, lisping, &c, but they invigorate the lungs, and, con- 
sequently, fortify them against the invasion of disease. 

All the blood, in the course of its circulation, passes 
through the lungs, where it undergoes a change, not only 
essential to health, but also to life. Whenever their function, 
therefore, is interrupted by debility, or disease, the blood is 
deteriorated, and the whole system suffers ; in fact, the very 
citadel of life is sapped, and nothing but a restoration of 
these organs to their natural condition will effect a return of 



INTRODUCTION. , 5 

general health. Indeed, the lungs are of so much importance 
in the animal economy, that the complete suspension of their 
office is followed by speedy dissolution. 

Hence, such healthful measures should be adopted as are 
calculated to invigorate the pulmonary apparatus, and enable 
it to maintain its integrity. One of the most hopeful expe- 
dients for this purpose, is a well-regulated and persevering 
course of vocal gymnastics. 

Were we to exercise our voices a few minutes every day, 
according to just principles, the number of deaths from pul- 
monary affections, especially consumption, I have no doubt, 
would be greatly diminished. 

While vocal gymnastics give a keenness to appetite, they 
are a powerful means of promoting digestion. A young cler- 
gyman entered my Vocal Gymnasium, for the purpose of im- 
proving his elocution as well as his health. He labored under 
dyspepsia, which was attended with loss of appetite, general 
debility, languor, and dejection of spirits. But in twelve 
days after he commenced the exercises, there was a radical 
change in his mental and physical condition : he had become 
very cheerful ; and, to use his own words, his appetite was 
ravenous. Nor is this a solitary case — numerous others might 
be cited with the like happy result. 

My pupils have frequently told me that they always feel 
invigorated by the exercises. A gentleman who was formerly 
a pupil of mine, and who had been in the practice of resort- 
ing to a common gymnasium for the benefit of his health, 
assured me that he derived more advantage from his vocal 
than from his athletic exercises. Let the individuals, there- 
fore, who visit those gymnasia, designed only for the exercise 
of the limbs, not neglect the equally important gymnastics of 
the pulmonary organs. 

The value of vocal gymnastics cannot be duly appreciated 
by those who have not experienced, or witnessed their bene- 
ficial results. But, the author feels confident, the time is not 
1* 



b . INTRODUCTION. 

distant when these exercises will be considered by all intelli- 
gent persons an essential part of primary instruction. 

THE VOICE. 

Voice is sound produced by agitating the breath on its pas- 
sage from the lungs. The attributes of the voice are general 
and special. The general attributes are pitch and force, and 
are common to all voices. The special attributes are those 
peculiarities which render one voice more agreeable, or disa- 
greeable, than another, as sweetness, harshness, &c. The 
acuteness and gravity of the voice depend on the contractions 
and dilatations of the vocal tube. The degree of loudness of 
the voice is in proportion to the expulsive effort, and to the 
resistance which the breath meets on its passage through the 
glottis. When air is expelled from the lungs, and not suffi- 
cient resistance given to its egress to produce what is generally 
understood by the term voice, an asperated, or whispered sound 
is the result. From voice articulated by the motions of the 
lips, tongue, and other parts of the mouth, is produced oral 
language. Hence oral language is not inaptly termed articu- 
lated voice. 



This work comprises a brief explanation of the various 
modifications of the voice in reading and speaking, and a 
great variety of Exercises in Vocal Gymnastics. Some of 
these Exercises are taken from the author's " System of Elo- 
cution;" but most of them are here published for the first 
time. The Exercises are given in the Phonetic Alphabet, be- 
cause this alphabet has a letter appropriated to every articulate 
sound, and because it is more convenient than the Roman 
Alphabet. The vertical bars and the tone-marks will enable 
the teacher to understand the author's method of practising 
the Exercises. ANDREW COMSTOCK, 

No. 102 Arch St., Philadelphia, Oct. 24, 1854. 



A SYSTEM 



VOCAL GYMNASTICS. 




OCAL GYMNASTICS is the 

science of developing the voice and 
improving the articulation, as well 
as the art of training the organs 
by which this voice and articulation 
are produced. 

Vocal Gymnastics comprises ex- 
ercises in Articulation, Pitch, Force, and Time. 

Articulation is the act of forming, with the organs 
of speech, the elements of vocal language. These ele- 
ments may be formed separately, as in the utterance of 
the letters of the alphabet, as well as conjunctively, as 
in the pronunciation of words. By the utterance of the 
letters of the alphabet is not meant the pronunciation 
of the mere names of the letters, but the formation of 
the various sounds which they represent. 

Note. — Numerous Exercises in Articulation are given in another 
part of this work. 

Pitch is the degree of the elevation of sounds. Hence 
it regards their acuteness and gravity. It comprises 
Inflection, Melody, and Modulation. 

(7) 



8 VOCAL GYMNASTICS. 

Inflections, in elocution, are notes* of speech — notes 
that, in regard to pitch, undergo a continual change 
during the time of their pronunciation. A note of song 
is continued in one range of pitch from its commence- 
ment to its termination ; but a note of speech is varied 
in pitch during its prolongation. If you prolong the 
letter a in one range of pitch, thus, 



you will have an example of a note of song. If you 
utter it interrogatively and affirmatively, thus, 



you will have two varieties of the notes of speech : the 
voice, in the interrogation, moving from any certain pitch 
to one more acute ; in the affirmation, from any certain 
pitch to one more grave. There are four varieties of 
the notes of speech ; namely, 

1. Rising inflection ', 3. Rising circumflex v , 

2. Falling inflection x , 4. Falling circumflex *. 

The following diagrams, which are also given on the 
Chart entitled The Phoneticon, will serve to illustrate 
this subject more clearly : — 

Diagram 1. 

1 1 

a 

* Notes, in elocution, as well as in music, are simple sounds, whether 
made by the organs of speech, or by an instrument. The graphic 
characters which are used to represent these sounds are also called 
notes. 



VOCAL GYMNASTICS. 



9 



The heavy horizontal line in Diagram 1, represents a 
note of song. The teacher should give an example of a 
note of song by singing the letter a, or some other 
vowel, which the pupil should repeat. 



Diagram 2. 











a' a* 


a' a* 


a y a A 


a" a* 



The characters on the middle line of Diagram 2, 
represent notes of speech; those in the first division of 
the diagram, represent drawling notes ; * those in the 
second, a rising and a falling inflection, pronounced with 
sufficient force to make them proper notes of speech ; 
those in the third, represent a rising and a falling cir- 
cumflex ; those in the fourth, also represent a rising and 
a falling circumflex, but they extend through a wider 
range of pitch than those in the third. The teacher 
should give examples of each of these notes by pro- 
nouncing the letter a, or some other vowel, and the 
pupil should repeat them. The following sentences 
furnish examples of the various inflections : — 

The peo'ple whom we at first despised' as rebvels, but 
whom w T e now acknowledge as en'emies, are abet'ted 
against* usv. 

This great affection to believe', 
Which all confess*, but few perceive", 
If old asser'tions can't prevail', 
Be pleased to hear a mod'ern tata. 

* Drawling notes and proper notes of speech are alike in pitch ; but 
they are different in force and time. 



10 



VOCAL GYMNASTICS. 



On Lin'den, when the sun was low, 
All bloodless lay the untrod'den snowv, 
And dark as wimter was the flow 
Of I'ser roll'ing rapndly. 

and, to enrage' thee more', 

Thy* king*, and lord*. 

Diagram 3. 

-f- 




The notes in Diagram 3 represent rising and falling 
inflections through various intervals of pitch. In the 
first double column, on the left, the two notes on the 
first line represent a rising and a falling inflection in the 
lowest pitch of the natural voice ; * the two notes on 
the fourth line represent a rising and a falling inflection 
in the highest pitch of the natural voice, and the notes 
on the second and third line represent rising and falling 
inflections in a pitch intermediate between that repre- 
sented by the notes on the first line and that represented 
by the notes on the fourth. The notes on the fifth line 
represent a rising and a falling inflection in the unna- 
tural or falsetto voice.* The notes in the lower part of 



* The natural voice is that in which people in general speak — it 
commences with the lowest note of the voice, and extends through a 



VOCAL GYMNASTICS. 11 

the diagram, to the right of those already described, 
represent rising and falling inflections through various 
intervals of pitch, and with various degrees of force — 
each rising inflection commencing, and each falling in- 
flection terminating, in the lowest pitch of the natural 
voice. The open notes represent rising and falling 
inflections in the upper range of the natural voice.* To 
show that a rising inflection cannot be pronounced with 
as much force as its corresponding falling inflection, the 
rising inflections in the diagram are made lighter than 
their corresponding falling inflections. And to show 
that notes, whether with a rising or a falling inflection, 
when uttered beyond a certain degree of loudness, can 
not be pronounced with an equal degree of loudness in 
every range of pitch, the graphic notes in the two 
columns on the left, are made different in size : for 
example, the loudest notes are not made either in the 
highest, or in the lowest pitch of the natural voice, but 
in the intermediate range, represented in the diagram 
by number 3. 

Melody, in elocution, is the series of simple sounds, 
which constitutes a vocal sentence. These sounds must 
be so arranged in pitch that they not only produce a 
pleasing effect upon the ear, but accord with the sense. 
The term melody is also applied to the series of graphic 
notes by which the vocal notes are represented. 

In speech, every note of a melody has a rising, a fall- 
range of about two octaves of the musical scale, -while the unnatural, 
or falsetto voice, is shrill, and above the natural voice. Some persons 
always speak in this voice, unpleasant as it is. The falsetto voice 
may readily be changed to a barytone, by appropriate vocal exercises. 

* These notes, on The Phoneticon, are painted red. 



12 VOCAL GYMNASTICS. 

ing, or a circumflex inflection ; in song, the notes have 
no inflection, because, as has been already said, each 
note is continued in one range of pitch from its com- 
mencement to its termination. 

A melody may be written on four horizontal, parallel 
lines. These lines are called the staff of speech, in con- 
tradistinction to the staff of music, which consists of 
five horizontal, parallel lines, and the intermediate 
spaces. The heavy line in the staff of speech, which is 
the second one from the bottom, indicates the hey, or 
general pitch of the voice, in any certain melody. It is 
called the pitch-note line. 

In giving the notation * of a melody, it is not always 
necessary to represent every note ; in general, it is suffi- 
cient, for practical purposes, to represent only the 
accented syllables and the more important of the mono- 
syllables. The series of graphic notes by which the 
radical pitch and inflections of the accented syllables are 
represented, is denominated, in the author's " System 
of Elocution," an emphasis melody. The following me- 
lodies are on the Phoneticon : — 

Diagram 4 



@ 1 

Friends', Ko'mans, countrymen, 

Remans, coun'trymen, and lowers, 
In cloudless knowledge, pur'ity, and bliss*. 

* Notation is the graphic representation of a melody; in other 
words, the expression of a melody by •written characters. 



VOCAL GYMNASTICS. 13 

Diagram 5. 

9 



h|h- 



-*- 



Exulting, tremvbling, ranging, fainting, 
tow»er shine*, glad x , ter v rible. 

The words tower, shine, glad, and terrible, occur in 
the following sentence : — 

Ye are the things that tow x er — that shine\ — whose smile 
Makes glad" — whose frown is terrible. 







Diagram 6. 




A 


A 




A 


& A 


4 




• 








1 









With/ you/ and' quit' my Su/sanV side'? 
Diagram 7. 



With/ you , ! the, hapless, husband, cried,. 

The above are examples of interrogative melodies. 
In the second example, the clause, the hapless husband 
cried, is not a part of the interrogation ; it is paren- 
thetical, and, therefore, should be read a degree below 
the pitch-note, which degree is represented by the lowest 
line in Diagram T. 

Those who do not understand the principles of elocu- 
tion, are apt to read this clause at the top of the inflec- 
tion of the interrogative or emphatic syllable, thus : — 



14 VOCAL GYMNASTICS. 

Diagram 8. 



With' you / ! the' hapless hus'band cried'. 

This reading of the clause, the hapless husband cried, 
is, of course, incorrect. The author has heard others 
read every word of this clause below the pitch-note, 
with the exception of the last word, cried, which they 
put in the interrogative form, thus : — 



With/ you/ ! the, hap,less, husband, cried'. 

This reading is also incorrect — the proper reading is 
represented by Diagram 7. 

Diagrams 7 and 8 are united on the Phoneticon, so as to form but 
one Diagram. Diagram 9 is not given on the Phoneticon. 

Modulation is the process of changing the key, or 
of passing from one key to another. This change is 
sometimes made to a proximate key ; at other times a 
bold and abrupt transition to a remote key is necessary 
to produce the desired effect. Modulation is generally 
attended with a change of force, or time ; and, not un- 
frequently, with a change of both. 

There is not a more important requisite in elocution — nothing which 
contributes more to the pleasure of an audience — nothing which 
gives stronger proof that an orator is master of his art, than a well- 
regulated and expressive modulation. Modulation, however, should 
never be resorted to for the sake of mere variety — it should always be 



VOCAL GYMNASTICS. 



15 



subservient to the sense ; for it is the province of modulation to mark 
changes of sentiment, changes in the train of thought, and paren- 
thetical classes. 

Under ordinary circumstances, the various modula- 
tions of the voice, in reading and speaking, may be 
represented by a staff of four lines. That this staff 
may not be confounded with the staff of melody, it is 
made of lines composed of dots, and called the staff of 
modulation. The lines of this staff, like those of the 
staff of melody, are counted from below upward. The 
second line is called the pitch-note line of the staff of 
modulation. The following diagram represents a series 
of modulations : — 

Diagram 10.* 





Z 








* 














a 






e 






1 
















d 



























































This diagram shows the modulations of the voice in 
the correct reading of the following extract from " Os- 
sian's Address to the Sun:" — 

(a) 2 The moon herself is lost in heaven ; (b) 3 but 
thou art forever the same, (c) 4 rejoicing in the bright- 
ness of thy course. | (d) 1 When the world is dark with 
tempests, | (e) 2 when thunder rolls, and lightning flies, | 
(/) 3 thou lookest in thy beauty from the clouds, | 
(g) 4 and laughest at the storm. | (h) 2 But, to Ossian, 
thou lookest in vain. 

* This diagram is not on the Phoneticon. 



16 



VOCAL GYMNASTICS. 



Staff a, in Diagram 10, is designed for the first sec- 
tion in the above extract ; staff b, for the second sec- 
tion, and so on. The transition from c to d is abrupt ; 
also that from g to h. 

In the reading lessons in the author's " System of Elocution," the 
modulations of the voice are indicated by small numerals prefixed 
to the words where the transition should take place. The numerals 
are, 1, 2, 3, 4, and represent, respectively, the first, second, third and 
fourth line of the staff of modulation. This is also shown in the 
preceding extract from " Ossian's Address to the Sun." 

Force, in elocution, as well as in music, is the degree 
of the loudness of sounds. It is also the degree of 
exertion with which sounds are made. A lax division 
of force is into loud and soft : those sounds are called 
loud, which are made with greater effort than the ordi- 
nary tones of conversation ; and those are called soft 
which are made with less effort. 

Some use the terms high and low as synonymous with loud and soft. 
But this is an improper application of these words. High and low 
regard the acuteness and gravity of sounds only, not their force : a 
sound may be high and soft, as well as high and loud — a sound may 
also be low and loud, as well as low and soft. 

For convenience, force may be divided into nine de- 
grees. These degrees are represented by Diagram 11. 

Diagram 11. 
1. 2. 3. 4. 5. 6. 7. 8. 9. 



*-+-*■ 



■*-?- 



■ O ' ^ i — ^- 



"yl A y 'A y ' & V&y 



The notes in the first division should be pronounced 
as soft as possible ; those in the second, a little louder ; 
those in the third, louder still ; and so on to the end — 
those in the ninth division should be pronounced as loud 
as possible. 



VOCAL GYMNASTICS. 17 

Force, applied to a syllable, is denominated stress. . 
There are three varieties of stress represented on the 
Phoneticon — Radical, Median, and Final. 

Diagram 12. 



Radical stress is the application of force at the be- 
ginning of a note or syllable. 

Median stress is the application of force at the middle 
of a note or syllable. 

Final stress is the application of force at the end of a 
note or syllable. 

Iterated stress on a note or syllable is denominated 
tremor. 

The teacher should give an example of each variety 
of stress by pronouncing, with the rising and with the 
falling inflection, the letter a, or some other vowel, which 
the pupil should repeat. 

Time is the measure of sounds in regard to their 
duration. It comprises quantity and movement. 

Quantity is the time of a note or syllable. 

Movement is the degree of rapidity with which a sen- 
tence is pronounced. 

The rate of movement should be such as the sentiment demands : 
solemn discourse requires a slow movement ; simple narrative, a 
medium rate of utterance; animated description, as well as all lan- 
guage expressive of any sudden passion, as joy, anger, &c, a move- 
ment more or less rapid, according to the intensity of emotion. 

There are no diagrams on the Phoneticon to illustrate time. For 
farther information on this subject, the reader is referred to the 
author's " System of Elocution," or to his " Phonetic Speaker." 
2* 



18 VOCAL GYMNASTICS. 

Accent is the stress of voice on certain syllables, which 
renders them more prominent than the others; as in 
ad'vent, admit', al'phahet, antecedent. 

Monosyllables, in combination, in certain situations, 
are accented ; as, in the sentence, 

"How fleet 1 is a glance' of the mind}?" 

Accent is said to be acute, grave, or circumflex, ac- 
cording as the syllable accented is pronounced with the 
rising, the falling, or the circumflex inflection. But 
inflection is not an attribute of accent, because it be- 
longs to every unaccented syllable as well as to those 
that are accented. Moreover, accent exists in song, in 
which there is no inflection. 

The Tone-Marks. 
The tone-marks in this work were first published in 
the author's " System of Elocution," in 1841. They 
differ from the common accent-marks : they not only 
represent accent, but inflection, and melody. The in- 
flections which they represent are four rising ( / / ' '), 
four falling ( * » v x ), four rising circumflex ( , v ¥ v ), and 
four falling circumflex ( A A A a ) inflections. The appli- 
cation of some of the tone-marks is shown on page 9 
and 10 ; also in the Exercises in Vocal Gymnastics, 
which commence on page 27. 



Oe the Alphabet, and the Elementary Sounds 
of the English Language. 
An alphabet is a series of characters, called letters, 
used to represent the elementary sounds of a language. 



VOCAL GYMNASTICS. 19 

An alphabet, to be perfect, should have a letter appro- 
priated to every elementary sound. The number of 
letters in the English language is twenty-six ; but the 
number of elementary sounds is thirty-eight. The 
English alphabet, therefore, is by no means perfect ; not 
only because it does not contain as many letters as it 
has elementary sounds, but because different letters are 
employed to represent the same sound. The same sound 
is not only represented by different letters, but by va- 
rious combinations of letters ! and most of these combi- 
nations of letters represent different sounds ! Indeed, 
the thirty-eight elementary sounds of the English lan- 
guage are represented (rather misrepresented), according 
to our present system of orthography, in about three 
hundred and fifty different ways ! which may be con- 
sidered equivalent to as many different letters ! ! This 
complexity renders the orthography and pronunciation 
of the English language extremely difficult of acquisition. 
Every difficulty, however, would immediately vanish by 
adopting a perfect alphabet, an alphabet having a letter 
for every elementary sound. This, indeed, is the only 
philosophical way of representing the sounds of any 
language. On the following page the reader will find 
such an alphabet. 

The elementary sounds, as well as the letters by which 
they are represented, are divided into three classes — 
voivels, subvoivels, and aspirates. The vowels are pure 
vocal sounds ; their number is fifteen. The subvowels 
have a vocality, but inferior to that of the vowels ; their 
number is fourteen. The aspirates are mere whispers, 
and consequently have not that kind of sound which is 
called vocality ; they are nine in number. 



A PHONETIC ALPHABET FOR THE ENGLISH LANGUAGE. 


BY ANDREW COMSTOCK, M.D. 


In this Table there is a letter for each of the 38 elementary sounds 
of the English Language; and, for the sake of brevity, there are 6 
compound letters, each to be used, in particular instances, to represent 
two elementary sounds. There are also tone-marks, to represent 
accent, inflection, and intonation. 


THE 315 SIMPLE LETTERS. 


15 Vowels. 


14 Subvowels. 


9 Aspirates. 


E e 


ale 


B b 


5ow 


P p 


pit 


A a 


arm 


D d 


day 


T t 


tin 


O 


all 


G g 


9^1 


K k 


kite 


A a 


an 


V v 


vile 


F f 


/ame 


X x 


eve 


A b 


then 





thin 


£ 8 


end 


Z z 


zone 


S s 


sin 


I i 


tie 


J j 


azure 


C c 


sAade 


I I 


in 


L 1 


Zight 


H h 


Aut 


Q Q 

o 

LJ xi 


old 
lose 
on 
tube 


R r 

M m 

N n 


roll 


Q q 


wh&t 


met 
not 
song 


Tone-marks to repre- 
sent Accent, Inflec- 
tion, and Intona- 
tion. 


U u 


un 


W w 


wo 


/ ' ' ' ' % * X 


U u 

1 


f«ii 


Y y 


yoke 




cp 


out 








THE 6 COMPOUND LETTERS. 


a a 


oil 


D cj 


yob 


■C t 


etch 


o 


air 


S §r| 


tugs 


X x 


o&Tcs 



vocal gymnastics. 21 

The Vowels. 

The vowels are divided into Monothongs, Diphthongs, 
and Triphthongs. 

The Monothongs consist of one kind of sound, and 
consequently are simple elements. They are as follows : 

A, O, A, I, C, I, 0, II, U. 

" The Diphthongs consist of two kinds of sound, which 
coalesce so intimately that they appear like one uniform 
sound. They are as follows : 

E, I, K, IJ. 

The diphthong E, as well as I, has a characteristic 
sound for its radical, and the monothong I for its vanish. 
These diphthongs, under certain circumstances (for 
instance, when they are carried through a wide range 
of pitch, as in interrogation with surprise), are converted 
into triphthongs, the third constituent being the mono- 
thong I. 

The diphthong "8" has a characteristic sound for its 
radical, and the subvowel W 'for its vanish. 

The diphthong IJ has the monothong I for its radical, 
and the subvowel W for its vanish. 

The Triphthongs consist of three kinds of sound, 
which coalesce so intimately that they appear like one 
uniform sound. They are as follows : 
Q, O. 

The first constituent of Q, as well as that of O, is a 
sound characteristic of this element ; and the diphthong 
"8" constitutes the second and third constituent of these 
triphthongs. 

The following scheme is an analysis of the diphthongs 
and triphthongs. The reader will observe that, with 



22 



VOCAL GYMNASTICS. 



one exception, the letters which are employed to repre- 
sent the diphthongs and triphthongs are used under the 
head, Constituents, to represent their radicals only. 



iphthong. 


Constituents. 


Triphthongs. 


Constituents. 


E 


E —I 


E* 


E — I — I 


I 


I —I 


I* 


I —I — I 


K 


K — W 





Q — K — W 


U 


I —TV 





<D — K — W 



The diphthongs and triphthongs are generally mono- 
thongs when they are followed by a consonant. Thus, 
a in taper is a monothong ; but when this letter is pro- 
nounced singly, and when final, it is a diphthong or a 
triphthong. 

During the utterance of a monothong, the aperture 
of the mouth remains stationary ; but during that of a 
diphthong, or triphthong, the aperture is gradually 
diminished till the commencement of the last constituent ; 
it then remains stationary till the sound is ended. This 
is illustrated by the following diagrams : 



Diagram 13. 



Diagram 14. 




w 



K W 



The opening of the tube, Diag. 13, represents the 
aperture of the mouth in the utterance of the monothong 
Q, and the length of the tube represents the duration 
of the sound. 

The large end of Diag. 14 represents the aperture of 
the mouth in commencing the utterance of the diphthong 



* I have said that E and I are sometimes diphthongs, and some- 
times triphthongs ; hence, above, they appear under both heads. 



VOCAL GYMNASTICS. 23 

H — the portion of the figure between "8" and W, shows 
the gradual diminution of the aperture of the mouth 
during the utterance of the first constituent, and the 
remaining portion shows the stationary position of the 
aperture of the mouth during the utterance of the 
second constituent. 

The large end of Diag. 15 represents the aperture of 
the mouth in commencing the utterance of the triph- 
thong Q — the portion of the figure between Q and K 
shows the gradual diminution of the aperture of the 
mouth during the utterance of the first constituent — 
the portion between K and "W shows the gradual dimi- 
nution of the aperture of the mouth during the utterance 
of the second constituent ; and the remaining portion of 
the figure, the stationary position of the aperture of the 
mouth during the utterance of the third constituent. 

The Subvowels. 

B consists of a vocal sound and an aspirate. The 
first constituent is formed with the lips closed ; the 
second, by aspirating the vowel U, at the moment of 
their separation.* 

D consists of a vocal sound and an aspirate. The 
first constituent is formed with the tip of the tongue 
pressed against the gums of the upper incisory teeth ; 
the second, by aspirating the vowel II at the moment of 
its removal.* 

When D is doubled, as in addition, the second constituent of the first 
D is omitted. When D is whispered, the second constituent only is 
heard. When words in which D is doubled are whispered, the fii'st 
D is mute. 

* Care should be taken not to make the second constituent vocal 



24 VOCAL GYMNASTICS. 

G consists of a vocal sound and an aspirate. The 
first constituent is formed with the root of the tongue 
pressed against the curtain, or vail of the palate ; * the 
second, by aspirating the vowel U at the moment of its 
removal. f 

When G is doubled, as in haggard, the second constituent of the 
first G is omitted. When G is whispered, the second constituent only 
is heard. When words in which G is doubled are whispered, the first 
G is mute. 

V is a compound of vocality and aspiration. It is 
formed with the under lip pressed against the edge of 
the upper incisory teeth. 

A, as in then (ben), is a compound of vocality and 
aspiration, formed with the tip of the tongue resting 
gently against the inner surface of the upper incisory 
teeth. 

Z, as in zone, is a buzzing sound, a compound of 
vocality and aspiration. It is formed by pressing the 
tip of the tongue gently against the gums of the upper 
incisors, and forcing out the breath. 

J, as in azure (ejur), is a compound of vocality and 
aspiration. It is formed with the tip of the tongue 
nearly in the same position as is z in zone, though 
drawn a little further back, and somewhat widened, so 
as to enlarge the aperture formed by its upper surface 
and the roof of the mouth, through which the breath is 
forced. 

L is a vocal sound, made with the tip of the tongue 
pressed against the gums of the upper incisory teeth. 

R is a vocal sound, of which there are two varieties. 
The first is called the trilled R, and is made by causing 

* In the language of anatomy, velum pendulum palati. 

f Care should be taken not to make the second constituent vocal. 



VOCAL GYMNASTICS. 25 

the tongue to vibrate against the gums of the upper 
incisory teeth, while the breath is propelled through the 
mouth ; the second is called the smooth R, and is made 
with the tip of the tongue elevated towards the centre 
of the roof of the mouth. R should be trilled when it 
precedes a vowel, as in roll, crush, &c. ; but when it 
follows a vowel, as in air, orb, &c, it should be made 
smooth. 

I have met with a number of individuals who could not trill the R, 
and others who did it with difficulty. Those who cannot trill it in a 
graceful manner, had better not attempt it in public; let such, how- 
ever, not despair — their vocal organs may be rendered flexible by 
frequent and energetic exercise. 

M is a nasal sound, made with the lips closed. 

N is a nasal sound, formed with the tip of the tongue 
pressed against the gums of the upper incisory teeth. 

I], as in song (sorj), is a nasal sound, formed with the 
root of the tongue pressed gently against the curtain of 
the palate. 

W is a vocal sound, formed with the lips contracted 
as in the act of whistling. 

Y is a vocal sound, formed with the lips and teeth a 
little separated. 

The Aspirates. 

P is formed by closing the lips, and then aspirating 
the vowel II . 

When this element is doubled, as in happy, the first P is mute. 

T is formed by pressing the tip of the tongue against 
the gums of the upper incisory teeth, and aspirating the 
vowel II.* 

* Although of no practical importance, it may not be uninteresting 
to the philosophic reader to know that the second constituent of the 

3 



26 VOCAL GYMNASTICS. 

When T is doubled, as in attempt, the first T is mute. 

K, like G in give, is formed by pressing the root of 
the tongue against the curtain of the palate, and then 
aspirating the vowel U. 

When this element is doubled, as in fickle (pronounced fikl), the 
first K is mute. 

F, like V, is formed with the under lip pressed against 
the upper incisory teeth. 

©, as in thin (Sin), like A in then (ben), is formed 
with the tip of the tongue pressed against the upper 
incisory teeth. It is nearly the same sound as the sub- 
vowel A aspirated. 

S is a hissing sound, and, like z in zone, is formed 
with the tip of the tongue pressed gently against the 
gums of the upper incisory teeth. It is nearly the same 
as z in zone aspirated. 

C, as in ocean (cocun), shade (ced), &c., is formed with 
the tongue in the same position as is z in azure. C is 
nearly the same sound as J in azure (ejur) aspirated. 

H is the inceptive part of a vowel sound, aspirated in 
a particular way. H may be uttered in as many ways 
as there are vowels in the language ; each of which 
requires the same posture of the mouth as the vowel 
which follows it. 

Q, as in what (qot), is the inceptive part of the vowel 

subvowels B, D, G, and of the aspirates, K, P, T, is formed by aspi- 
rating the vowel II only when these elements are uttered singly, when 
they are final, and when they are followed by a consonant. When 
they are followed by a vowel, their second constituent is formed by 
aspirating that vowel. This maybe rendered obvious by pronouncing 
forcibly, and deliberately, the words, Bay, Day, Gay, and Pay, Tay, 
Kay, or any other words in which B, D, G, and P, T, K are followed 
by vowels. 



VOCAL GYMNASTICS. 27 

II aspirated in a particular way. The sound of this 
element is nearly the same as HIT, -whispered. Q re- 
quires the same posture of the mouth that the vowel 
U requires.* 

The Postures of the Mouth. 

An accurate knowledge of the positions which the 
organs of articulation should assume in the formation of 
the several elements of vocal language, is very important 
to those who would speak with ease and elegance. To 
aid the reader still further in the acquisition of this 
knowledge, he is furnished with the various postures of 
the mouth, required in uttering the elements energeti- 
cally, and singly. 

The elements are here grouped according to the pos- 
ture in which the mouth should be when they are formed. 
It will be seen that the Diphthongs and Triphthongs have 
each two postures of the mouth — one at the commence- 
ment, the other at the termination of the sound. 

These postures are, of course, more or less modified, 
when the elements are uttered in their various combina- 
tions, and with different degrees of force. 

The pupil should exercise his organs of speech, in the 
most forcible manner, every day, on all the elements. 
The vowels should be exploded from the throat, both 
interrogatively and affirmatively, in every range of pitch 

* Some writers consider the sound of W the same as that of 00 in 
OOZE, and the sound of WH the same as that of HOO. But HOO is 
compounded of an aspirate and a vowel, whereas WH is simply an 
aspirate, and consequently has none of that kind of sound which is 
called vocality. That HOO and WH are not identical, may be proved 
by pronouncing, alternately, the monosyllable hoom and the imaginary 
monosyllable whoom, and observing the contrast between them. 



28 



V Q K A L DKMNaSTHX. 




VfiK&L JOIMNASTIX. 



29 




30 VOCAL GYMNASTICS. 

within the compass of the voice, and with every possible 
degree of force. 

The vowels are exploded in the following manner: 
make a full inspiration, close the glottis, and contract 
the muscles of expiration so as to condense the air in 
the lungs, then utter the element with a sudden and 
forcible emission of the breath. The sounds thus pro- 
duced may be denominated vocal thunder ; the effect 
upon an audience is electrical. 

This exercise strengthens the vocal organs, and en- 
ables the speaker to be heard at a great distance, with 
very little effort, or expenditure of breath. It is also 
beneficial to health. 



THE EXERCISES. 

The Exercises which commence on the following page are 
arranged as they are used in the author's Yocal Gymna- 
sium. They may all be read from the Chart entitled the 
Phoneticon. In reading any one of the Exercises, the 
teacher should pronounce, with the proper inflection, the ele- 
ment or combination of elements, which precedes the first ver- 
tical bar, and the class should repeat it in concert. He should 
then pronounce that which is contained between the first bar 
and the second, and the class should repeat it in concert; and 
so on to the end of the Exercise. When the class becomes 
pretty well acquainted with the Exercise, each pupil should, 
in turn, take the part of the teacher. For example, the first 
pupil should pronounce all the combinations of the elements 
which commence with b, stopping, of course, at each vertical 
bar for the class to repeat ; the second pupil should pronounce 
all those which commence with d; the third, those which 
commence with g ; and so on. The author generally com- 
mences every lesson in elocution with one of these exercises, 
and ends it with the same, with gesticulation. 



VOCAL GYMNASTICS. 31 



EXERCISES IN VOCAL GYMNASTICS. 



EXERCISE I. 

E* | a* | o* | a* | x* \ e* | b \ v \ o* \ s* \ o* | u* | u* | u* | cp* \ 

* | OS || 

B* | d« i g* | yi \b*[*\ j* \ h | r | m* | n* | i? | w | y v| ^ | 
r |Ht«|b|fj.Jh|i>|iii|b| T 1*1*. II 

E' e* | a' a* | o' o* | a' a* ] x' x* \ z' s* | i' i* | r p | co' ©* | H' s» | 
o' o* | l t/ u* | u' u* | u' u* | cp' op* | a' a* | o' e*.|| 

B' b* | d' d* | g' g* | v v* | b' b* | z' z* | j' j* | 1» 1* | r r* | m' m* | 
n'n*|r}' q*|w w»|y y*]cj' cj*|g-' g-*. || 

P'p»|f t»|k'k»|f'f|ft»a*.|s'B'|co»|li'b|q'q»|6'6|x*x».| 

B' p*|d' t»|g' k*|v f*|b' 0*|z' s*|j' c*|c]' c*|g-' x*. 

EXERCISE II. 

E' a' o ; a* | x' e* \ i' i* | co' 8' o* | u' u' u* | cp | gp| a*. [| 

Be' ba' bo' ba* | bx' be* | bi' hv \ bco' b«' bo* |bu' bu'' bu*| 
bq) v |ba* | bo*. || 

Dc da' do' da* | dx' de* | di' di* | dco' ds' do* | du' du' du* | 
dcp*|dcx* | do*. || 

Ge' ga' go' ga*| gx' g£* | gi' gi*|gco' g& go*|gu' gu' gu*| 

gc[*|go*|ga*. || 

Ve' va' vo' va*| vx' ve* | vi* vi* |vq' vis' vo*|vu' vu' vm| 

V([)*|VCI*| vo*. || 



32 



VOCAL GYMNASTICS. 



Ac ba' bo' ba*|bx' b£* \bi' bi*|bco' bs' bo*|bu' bu' bu* 
bcp* | ba^ | bo*. || 

Zc za' zo' za*|zx' z£*| zi' zi* |zco ; zx' zo*|zu' zu' zu* 
z<p* I za 1 | zo*. || 

Je' ja' jo' ja*| jx' j£* | ji' jr | jo' jV jo* | ju' ju' jtn 

j<T I j^ I J>. II 

Lc la' lo' la*| lx' k* | li' h* | lco' Is' lo* | Ik' lu' lu* 
V | la* I la\ || 

Re' ra' ro' ra*l rx' r£* | y'v ri* \ycd j yw ro*|ru' ru' ru* 
r'cp» | r^ I ra*. || 

Me'ma'mo' ma*j mx'm£* | mi'mi* | raw ms' mo*|mu' mu' mu ( 
mcp*|ma*jma*. || 

Ne' na' no' na*|nx' n£*|ni' ni*|no' ns' no*|nu' nu' nu* 
nq<* | na* | no*. || 

PJe' qa' no' r)a*|rjx' r)£*|i)i' j)v\ qco' qs' rjo x | qu' qu' qu* 
q(p»| gqv| q 8V || 

We' wa' wo' wa> | wx' we* | wi' wi* | wco' w*J' wo* | wu' wu' wu x 
wcp I wa*| wa*. || 

Ye' ya' yo' ya*|yx' y£*|yi' yiv|yo* y*' yo*|yii' yu' yu* 

jv I y^ x I y»*- II 

De'c]a' a> cja*|cjx' cJ£*|cji' cjr \ c|co' cjs' cjo*| c)ij' cju' c)u* 

3<T I $™\ <}&• II 
Qe 1 %a> g-o' g*a*| §-x' g-£*| g"i' §r| £«' £*K' g"o*| gru' g"u' srm 

sr.V I £ ax I £° x - II 

Pe' pa' po' pa*|px' p£*|pi' pi*|pw p«' po*|pu' pu' pu* 
pep* | pa* | po*. || 

Te' ta' to' ta*| tx' t£* | ti' tx* |tco' ts' to*|tu' tu' tu* 
tcp* | ta* | to*. || 



VOCAL GYMNASTICS 



33 



Ke' ka' ko' ka^kx' ke^lki' ki 



kcp | kcr 

Fe' fa' fo' 

ftp | fcr 

0e' 8a' %o> 

Sep | Scr 

Se' sa' so' 
scp | sci^ 

Ce' ca' co' 

ccp | ca 1 

He' ha' ho' 
hcp x | her 

Qe' qa' qo' 
qcp | qcr 



ko*. || 

fa*|fx' fe*| fi' fr 

IV. || 

»&»|to'&e»|ai' &r 

a*. || 

sa^| si' se x | si' si x 
so-. || 

ca x | ex' ce x | ci' cr 

C8 X . || 

ha x |hx' he x |hi' hi' 
ho*. II 



kco' kb' ko*|ku' ku' ku v 
fco' fs' fo* |fu' fu' fir | 

SCO' Sb' SO v |siJ' SU' SIT 
COD' Cb r/ CC^JCJU' CU' CIP 

hca' hb' ho\lhu' hu' hu x | 
qca' qb' qo* | qu' qu' qu x | 



qa x |qx' q£ x |qi' qr 
qo\ || 

•Ce' 6a' 60' ca v |cx' 6£ v |ci' 6r|6co' 6s' 6o x |6l t/ cu' cu 

CCp I co- I ctv. || 
Xe' xa' xo' xa v |xx' x£ x |xi' xr|xco' xs' xo v |xu' xu' xir 

xcp I xcr | xo v . || 



EXERCISE III. 

Be'pe ba'pa bo'po ba^pa | bx'px be^pe | bi'pi brpi | 

bco'pco bb'pb bo^po | bu'pu bu'pu bu x pu | beppep | 

ba x pa | bo x po. || 
Be-pe' ba-pa' bo-po' ba-pa x | bx-px' bc-pe^ | bi-pi' bi-pr| 

bco-pco' bb-pb' bo-po^bu-pL T/ bu-pu' bu-pu x |bcppcp| 

bci-pcp | bo-po*. || 

De'te da'ta do'to da*ta | dx'tx ck^te | di'ti di»ti | 
dco'tco db'tb do^to | du'tu du'tu dirtu | deptep | 
da'ta I do*to. II 



34 VOCAL GYMNASTICS. 

De-te' da-ta' do-to' da-ta x | dx-tx' dc-t£ x | di-ti' di-tr 
do-to' db'-tb T/ do-to x | du-tij' du-tu' du-tu x | dcp-tcp 
da-tcp | do-to x . || 

Ge'ke ga'ka go'ko ga x ka | gx'kx g£ x ks | gi'ki grki 

gco'kco gb'kb go x ko | gu'ku gu'ku guvku | gq, x kcp 

gcrkci | go^ko. || 
Ge-ke' ga-ka' go-ko' ga-ka x |gx-kx' ge-ke x | gi-ki' gi-kr 

go-kco' gb-kb' go-ko v | gu-ku' gu-ku' gu-ku x |gq>kq) x 

gci-kcr | go-go*. || 

Ve'fe va'fa vo'fo va x fa | vx'fx V8 x fg | vi'fi vrft 
vo'fco vb'fb vo'fo | vu'fu vu'fu vuvfu | vcpfq) 
va x fa | vo x fo. || 

Ve-fe' va-fa' vo-fo' va-fa x | vx-fx' V£-fV | vi-fi' vi-fr 

VQ-fcD' Vb-fb' VO-fb x | Vtt-flJ' VU-fll' VU-fl? | VCp-fcp x 
VCT-foP I VO-fo x . || 

Ae'Se Oa'Sa bo'$o ba^a | bx'Sx bs^8 | bi'$i| bv§i 
bo'dco bb'Sb bo v $o | bu'Qu bu'Su bu x Su| bcpScp 
ba^a | ba^o. || 

Ae-&e' ba-Sa' bo-So' ba-$a x | bx-Sx' bs-$e x 
bi-di' bi-Sr | bo-W bv-Sx' bo-&o x | bu-$u< 
bu-$u' bu-3u x | bq.-Scp | bci-Qcr | bo-Sa x . || 

Ze'se za'sa zo'so za x sa | zx'sx ze x ss | zi'si zrsi 
zo3'S(d zb'Sb zo x so I zu'su zu'su zu x su | zcpscp 
zq x sci | zo\so. || 

Ze-se' za-sa' zo-so' za-sa x | zx-sx' zc-ss x | zi-si' zi-si x 

ZO-S03' Zb-Sb' ZO-SO x | ZLJ-SLI' ZU-SU' ZU-SIP | Zq>SC[; x 
ZQ-SQ V I Z8-S8 X . || 

Je'ce ja'ca jo'co ja x ca | jx'cx je v ce | ji'ci jrci 
jco'cco jb'cb jo x co I jju'cu ju'cu ju x cu I jcpccp 
jgpcq | jo x ca. || 



VOCAL GYMNASTICS. 35 

Je-ce' ja-ca' jo-co' ja-ca v | jx-cx' je-es v | ji-ci' ji-ci x 
jco-cco' j^-c^' jo-co x | ju-cw ju-cu' ju-cu 1 | jcp-ccp 
ja-ca- | jo-co*. || 

De'£e cja'6a cjq'£q c|a*6a | cjx'6x cJ8*6e | cji'6i cjrfo 
c]o'£cd cjh'6h cjo x 6o | cju'^u c)u'6u cjip6u | cjcp^cp 
cja^a | tjo v 6o. || 

De-te' cja-6a' cJg-£q' c]a-6a v | cjx-6x' cje-cV 
cji-6i' cji-ci* | cjco-c'co' c]h-c^' cJo-cV | cju-6ir 
cju-6u' cju-cir | cjq>6q~ x | cja-6a* | cjo-£o x . || 

ge'xe ^a'xa g-Q'xo g-avxa | g-x'xx £e\xs | g-i'xi grxi 

g-Q'XCO g-H'X^ g^XO | g'LI'XLJ g"U'XU g"U x XU | g"(p x XCp 

s^a\xa | %q x xq. || 
ge-xe' g-a-xa' g-Q-xo' g-a-xa*| sfx-xx' §-£-xe^| g-i-xi' %i-xv 
gfCO-XCO' gftf-XK' g-o-xo* | §r LI-XU' gu-xu' gu-xu x | gcp-xq> v 
ga-xa* | go-xo*. || 



EXERCISE IV. 

Be'pe-pe ba'pa-pa bo'po-po ba x pa-pa | bx'px-px 
b£ x p£-pe | bi'pi-pi brpi-pi | bco'pco-pco b«'ptf-px 
bo^po-po | bu'pu-pu bu'pu-pu bu x pu-pu | bc^ x pcp-pcp | 
ba x pa-pa | bo x po-po. || 

Be-pe'pe ba-pa'pa bo-po'po ba-pa^pa | bx-px'px 
be-pe^pc | bi-pi'pi bi-prpi | bo-pwpco btf-px<pY 
bo-po^po | bu-pu'pu bu-pu'pu bu-pu x pu | bq-pcppcp | 
ba-pa^pa | bo-po^po. || 

Be-pe-pe' ba-pa-pa' bo-po-po' ba-pa-pa x | bx-px-px' 
be-pe-pe* | bi-pi-pi' bi-pi-pr | bo-pco-pw bs-pK-p^' 
bo-po-pc^ |bu-pu-pij' bu-bu-piv bu-pu-pipjbcf-pqj-pq^l 
ba-pa-pa» | bo-po-po v . || 



6b VOCAL GYMNASTICS. 

De'te-te da'ta-ta do'to-to da^ta-ta | dx'tx-tx clVts-ts | 
di'ti-ti drti-ti |do'to3-tG3 dyt^-t^ do x to-to | du'tu-tu 
du'tu-tu du x tu-tu | dcp x tq>tcp | dcrtci-toi | do v ro-to. || 

De-te'te da-ta'ta do-do'to da-ta x ta | dx-tx'tx dfj-te^te | 
di-ti'ti di-tiHi |dco-tQ'tw dtf-tH'tx do-to x to | du-tu'tu 
du-tivtu du-tiptu | dcp-tcptcp | da-tarta | da-ta^ta. || 

De-te-te' da-ta-ta' do-to-to' da-ta-ta x | dx-tx-tx' 
de-te-te* | di-ti-ti' di-ti-tr | dc3-tc3-tco' d^-tK-tK' 
do-to-to x | du-tu-tu' du-tu-tu' du-tu-tu v | dq>tq)-t<p | 
da-ta-tcr | do-to-to x . || 

Ge'ke-ke ga'ka-ka go'ko-ko ga\ka-ka | gx'kx-kx 
gg^E-kc | gi'ki-ki gxvki-ki | go'kco-ko3 gK'k^-ks 
govko-ko | gij'ku-ku gu'ku-ku gu\ku-ku | gcpvkq)-kq) | 
ga^ka-ka | ga x ka-ka. || 

Ge-ke'ke ga-ka'ka gQ-ko'ko ga-ka^ka | gx-kx'kx 
ge-ke\kg | gi-ki'ki gi-krki | gQ-kca'ko g^-k^'kn 
go-kovko | gu-kij'ku gu-ku'ku gu-ku\ku | gcp-kcp*kcp | 
ga-ka^ka | ga-ka v ka. || 

Ge-ke-ke' ga-ka-ka' go-ko-kcy ga-ka-ka x | gx-kx-kx' 
ge-ke-ke* | gi-ki-ki' gi-ki-kr | go-kQ-kca' gK-k^-kn' 
go-ko-ko v |giJ-kju-kij' gu-ku-ku' gu-ku-ku x |gq)-kcp-kcp x | 
ga-ka-ka v |go-ko-k8 x . || 

Ye'fe-fe va'fa-fa VQ'fo-fo va v fa-fa | vx'fx-fx vgtfe-fc | 

Vi'fi-fi VI v fl-fl | VO'fcO-fG3 V^'ftf-ftf VO v fo-fo | VU'flJ-flJ 

vu'fu-fu vu v fu-fu | vq x fcp-fcp | vc^fa-fa j va^fa-fa. || 

Ve-fe'fe va-fa'fa vo-fo'fo va-fatfa | vx-fx'fx vg-fVfg | 
vi-fi'fi vi-frfi | vcD-fco'fco vs-iVfs vo-fo^fo | VU-flJ'flJ 
vu-fu'fu vu-lVfu | vcp-fepfqp | vci-fcrfQ | va-fo x fa. || 

Ve-fe-fe' va-fa-fa' vo-fo-fo' va-fa-fa v | vx-fx-fx' ve-fe-iV| 
vi-fi-fi' vi-fi-fr | vo-fo-fo' VK-fe-lV vo-fo-fo x | vu-fu-fu' 
vu-fu-fu' vu-fu-fu' | vcp-fcp-fcp | va-fa-fa* | va-fa-fa*. || 



VOCAL GYMNASTICS. 37 

Ae'&e-Se ba'Sa-Sa bo'So-So ba^a-&a | bx'&x-Sx 
be^8-$e | bi'di-&i brSi-$i | boD'Sco-dco &*<&*-&« 
bo^o-do|btt'Stt-Su bu'$u-$u bu^u-du|b(f^q)-d(p| 
ba^a-da | bo^o-So. || 

Ae-Se'Se ba-$a'$a bo-do'do ba-Sa*Sa | bx-$x'$x 
be-^e^£ | bi-Si'Si bi-$r&i | bcD-Sco'Sco b*-$K'Ss 
bo-^do|bu-^u'du bu-Su'$u bu-Su^u|bcp-$cp&cp| 
ba-Sa^a | bo-do^o. || 

Ae-Se-Se' ba-Sa-da' bo-So-do' ba-$a-Sa* | bx-Sx-Sx' 
b8-&8-$8^bi-&i-$i' bi-di-Sr| bco-$CD-&co' bs-&s-$s' 
bo-do-So* | bu-du-@u' bu-@u-@u' bu-@u-0u^ | 
bcp-0q)-0(p | ba-0Q-0GP I bo-0o-0o*. || 

Ze'se-se za'sa-sa zcso-so za v sa-sa | zx'sx-sx ze^se-se | 
zi'si-si zrsi-si | zq'sco-sq z^'ss-sk zo x so-so | zu'sij-sij 
zu'su-su zu N su-su I zcpscp-scp I zgtsq-sq | zo^so-so. || 

Ze-scse za-sa'sa zo-so'so za-sa v sa | zx-sx'sx zs-ss'se | 
zi-si'si zi-srsi | zq-so'sco zh-sx'ss zo-so x so | zu-sij'sir 
zu-su'su zu-sipsu | zcp-scp^scp | zq-sgtscx | zo-so x so. || 

Ze-se-se' za-sa-sa' zo-so-so' za-sa-sa x |zx-sx-sx' ze-S8-S8 x | 
zi-si-si' ZI-SI-SP | ZCO-SQ-SCD' ZX-SH-Sb T ' zoso-so x I 
Ztt-SIJ-SIT' ZU-SU-SU' zu-su-su v I zq>sq>scp I ZQ-SQ-SGX X | 
Z8-S8-S8\ || 

Je'ce-ce ja'ca-ca jo'co-co ja v ca-ca | jx'cx-cx J8 N C8-C8 | 
ji'ci-ci ji v ci-ci | jo'cco-co j^'ck-ck jo x co-co| jii'cu-cu 
ju'cu-cu jircu-cu I jq? x cc£-ccp I jgtcq-cq | jVcs-ce. || 

Je-ce'ce ja-ca'ca jo-co'co ja-ca x ca | jx-cx'cx J8-C8^ce j 
ji-ci'ci ji-crci| jo-cco'cco jtf-cx'cx jo-co*co| ju-cu'cu 

JU-CU'CU JU-CU^CU | j(p-CCpcCp I JQ-CGTCQ | J8-C8*C8. || 

Je-ce-ce' ja-ca-ca' jo-co-co 7 ja-ca-ca x |jx-cx-cx' J8-C8-c*8 v | 
ji-ci-ci' ji-ci-cr | jco-cco-cco' jh-cx-cs' jo-co-co* | 
ju-cu-ci;' ju-cu-cu' ju-cu-cu* | jq>cq>-cq: A | jq-cq-cq x | 

J8-C8-C8 X . || 

4 



38 VOCAL GYMNASTICS. 

JDe'6e-6e c]a'6a-6a c]q'6q-6q cja N 6a-6a j c|x'6x-£x 
^£'6g-6s | cji'ci-fo c|r£i-6i | cjcd'Cco-6gd c]^'6x-6h 
c]o v 6o-6o | c]u'6u-6ij (Ju'6u-6u cjir£u-6u | cjcp£(£-6q)| 
cJ6p6gi-6gx | (Jo^o-6o. || 

De-6e'6e c]a-6a'6a cjo-6o'6o cja-6a*6a | c]x-6x'6x 
cje-£e^£ | cji-6i'£i c]i-6rci | c]occ3'6gd c]h-6h'6k 
(Jo-£cp6o | ^m-6xj'6u ^u-6u'6u cju-6ir£u | cjcp-6q) x 6cp| 
cjcx-6cx x 6a | ^o-6a x C8. || 

JDe-6e-ce' c]a-6a-6a' (Jo-6o-6o' cja-6a-6a* | c]x-6x-6x' 
cjg-6s-£s x | c)i-6i-£i' cji-6i-6i x | cjco-6o-6co' c]k-6k-6x' 
c]o-6o-6o x | ^u-tu-tw eju-£u-6u' c]u-6u-£u* | 
cjq>6cp-6q) v | cJCT-6a-6cr | cJ8-6a-68\ || 

Gj-e'xe-xe g-a'-xa-xa g-o'xo-xo g-a v xa-xa | g-x'xx-xx 

^8 X X8-X8 | §"i'xi-xi gTXI-XI | g-GD'XCQ-XQ g-^'XX-XK 

g"o x xo-xo I g-u'xu-xij ^u'xu-xu g"irxu-xu I g-cpxcp-xep I 

g-QVXCI-XQ I g-8^X8-X8. || 

Gje-xe'xe g-a-xa'xa g-o-xo'xo g-a-xa\xa | ^x-xx'xx 
gs-xsvxs I g-i-xi'xi gi-xrxi | gco-xco'xo ^n-x^'xs 
g*o-xo x xo | gu-xu'xu g-u-xu'xu ^u-xu^xu I g*cp-xcpx(p I 

g-Q-XGXXQ I g-8-X8 v X8. || 

Gj-e-xe-xe' g-a-xa-xa' %g-xq-xq' g-a-xa-xa* | sfx-xx-xx' 
§-s-xe-xs v | gi-xi-xi' g-i-xi-xr | g-o-xco-xa' g-^-x^-x*?' 
g-o-xo-xo^ | g-u-xu-xu' g-u-xu-xu' gu-xu-xu*| g-cp-xq)-x(p| 
%a-xa-xw | ^8-xa-x8 x . || 



EXERCISE V. 

Ble' bla' bio' bla* | blx' ble* | bli' blr | blco' bis' blo x 

blu' bin' blip | blcp* | bla* | blot. || 
Die' dla' dlo' dla* | dk' die* | dli' dh* | dl©' dl*' dlo^ 

dlw din' dlu* | dlcp | dla* | dla\ || 



VOCAL GYMNASTICS. 



39 



Gle' gla' glo' gla* | glx' gk* | gli' gli* \ glo' gib' glo* 

g\u> glu' glu* | glcf* | gla* | glo*. || 
Vie' via' vlo' via* | vh' vie* | vli' vh* | vlo' vlb' vlo* 

vlu' vliv vlu* | vlcf* | via* | vlo*. || 
Ale' Ma' Mo' Ma*|Mx bis* | Mi' Mi* | Mw Mb' Mo* 

Mu' Mu' Mu* | M(p* | Ma* | Mo*. || 
Zle' zla' zlo' zla* | zlx' zk* | zli' zh* | zlco' zlb' zlo* 

zlu' zlu' zlu* | zlq)* | zla* | zlo*. || 
Jle' jla' jlo' jla* | jlx' jk* | jii' jh* | jlco jib' jlo* 

jlu' jliv jlu* | jl(f* | jla* | jlo*. || 

Pie' pla' plo' pla* | plx' pie* | pli' pli* | plo' plb' plo* 

plu' plu' plu* | plq* | pla* | plo*. || 
Tie' tla' tlo' tla* | tlx' tk* | tli' th* | tlo' tte' tlo* 

tlu' tlu' tlu* | tlq* | tla* | tlo*. || 
Kle' kk' klo' kla*|klx' kk*|kli' kh*|klco' klb' klo* 

kk-' kliv klu* | kk[* | kla* | klo*. |i 
Fie' flk' flo' fla* | fix' fle* | fli' fli* | Agd' fib' flo* 

flu' flu' flu* | flq* | fla* | flo*. || 
01e' &k' dlo' 31a* | Six' dl £ *|mi' aii*|Slco' Bib- 31o* 

Ww Ski' Qlu* | mc[* | 91a* | £lo*. || 
Sle' sk' slo' sla* | six' sk* | sli' sh* | slco' sib' slo* 

slu' ski' slu* | slcf* | sla* slo*. || 
Cle' ck' clo' cla* | clx' ck* | cli' ch* | clco' clb' clo* 

clu' clu' clu* | clq;* | cla* | clo*. || 



EXERCISE YI. 



Ble'ple bk'pk blo'plo bla*pla | blx'plx bk*ple | 
bli'pli bh*ph | blco'plco blb'plb blo*plo | blu'plu 
blu'plu blu*plu | blcf*plcp | bla*pla | plo*plo. || 



40 VOCAL GYMNASTICS. 

Ble-ple' bla-pla' blo-plcy bla-pla* | blx-pk' bls-ple* | 
bli-pli' bh-plr | blo-plco' bin-pis' blo-plo* | blu-plw 
blu-plu' blu-plu* | blcp-plq)* | bla-pla* | blo-plo*. || 

Dle'tle dla'tla dlo'tlo dla*tla | dlx'tlx dle*tle | 
dli'tli dlrth | dlco'tlo dlx'tlx dlo*tlo | dlu'tlu 
dlu'tlu dlu*tlu | dlcp*tlcp | dla*tla | dlo*tlo. || 

Dle-tle' dla-tla' dlo-tlo' dla-tla* | dlx-tlx' dle-tk' | 
dli-tli' dli-th* | dlo-tlw dlx-tlx' dlo-tlo* | dlu-tlu' 
dlu-tlu' dlu-tlu* | dlcp-tlcp* | dla-tla* | dlo-tlo*. || 

Gle'kle gla'kla glo'klo gla*kla | glx'klx gls*klc | 
gli'kli gh*kh | glco'klco glx'klx glo*klo | glu'klu 
gluklu glu*klu | glcp*kl(p | gla*kla | glo*klo. || 

Gle-kle' gla-kla' glo-klo' gla-kla* | glx-klx' gle-kle* | 
gli-kli' gli-kli* | glco-klco' glx-klx' glo-klo* | glu-klu' 
glu-klu' glu-klu* | glcp-klcp* | gla-kla* | glo-klo*. || 



Vle'fle vla'fla 


vlo'flo vla*fla 


| vlx'flx 


Vl8*flg | 


vli'fli vlrfli 


| vlco'flco vls'flx 


vlo*flo 


| vlu'flu 


vlu'flu vlu*flu 


[ vlcp*flcp | vla*fla | 


vlo*flo. 


II 


Vle-fle' vla-fla' 


vlo-flo' vla-fla* 


| vlx-flx' 


vle-fls* | 


vli-fli' vh-ili* 


I vlco-flo' vlx-flx' 


vlo-flo* 


| vlu-flu' 



vlu-flu' vlu-flu* I vlcp-flcp* I vla-fla* | vlo-flo*. || 

Ale'Sle bla'Ma blo'Slo bla*$la | blx'Slx ble*Sle | 
bli'&li bh*&h | blo'Qlco blx'Slx blo*$lo | blu'Slu 
blu'Slu blu*&lu I blcp*Mcp I bla*Sla | blo*Slo. || 

Ale-die' bla-Bla' blo-&o' $la-$la* | blx-Slx' ble-Sle* | 
bli-Oli' bh-ah*|blco-&lco' blx-dlx' blo-dlo*|b]ij-aiu' 
blu-Slu' blu-dlu* | blcp-Slcp* | bla-Qla* | blo-dlo*. || 



e'sle zla'sla 


zlo'slo zla*sla | 


zlx'slx zl£*sle | 


zli'sli zh*sh 


zlco'slo zlx'slx 


zlo*slo | zlu'slu 


zlu'slu zlu*slu 


| zlcpslcp | zla*sla 


zlo*slo. || 



VOCAL GYMNASTICS. 



41 



Zle-sle' zla-sla' 
zli-sli' zh-slr | 
zlu-slu' zlu-slu x 



zlo-slc zla-sla v | 
zlco-slco' zlb-slb' 
| zlcp-slcp | zla-sk 



zlx-slx' zle-sls x | 
zlo-slo* | zlu-slu' 
' I zlo-slo\ II 



Jle'cle jla'cla jlo'clo jla x cla | jh'clx jle^cls | jli'cli 
jlrch | jlco'clo jlb'clb jlo^clo | jlu'clu jlivclu jlu x clu | 
jlcpclcp | jlcrcla I jlo^clo. || 

Jle-cle' jla-cla' jlo-clo' jla-cla v | jlx-clx' jle-clg x | jli-cli' 
jh-ch x | jlco-clco' jlb-clb' jlo-clo x | jlu-clu' jlu-clu' 
jlu-clu^ | jlcp-clcp* | jla-cla* | jlo-clo^. || 



EXERCISE VII. 

Ble'ple-ple bla'pla-pla blo'plo-plo bla^pla-pla 

blx'ph-plx ble x ple-pls | bli'pli-pli blrpli-ph 

blco'plco-plco blb'plb-plb blo*plo-plo | blu'plu-plii 
blu'plu-plu blu v plu-plu | blcppk[-plq) | bla^pla-pla 
blo^plo-plo. || 

Ble-ple'ple bla-pla'pla blo-plo'plo bla-pla x pla 

blx-ph'plx ble-ple^ple | bli-pli'pli bh-plrph 

blco-plco'plco blb-plb'plb blo-plo N plo |. blu-plu'plu 

blu-plivplu blu-plu^plu | blq-plcpplq: | bla-pla^pla 
blo-plo v plo. || 

Ble-ple-ple' bla-pla-pla' blo-plo-plo' bla-pla-pla x 

blx-plx-plx' ble-pk-ple x | bli-pli-pli' bh-pli-plr 

blco-plco-plco' blb-plb-plb' blo-plo-plo x | blu-plu-plu' 
blu-plu-plu' blu-plu-plu* | blq:-plq>plq)* | bla-pla-pla* | 
blo-plo-plo x . || 

Dle'tle-tle dlatla-tla dlo'tlo-tlo dla^tla-tla | dlx'tlx-tlx 
dls^tls-tls | dli'tli-tli dlrtli-th | dlco'tlo-tlco dlb'tlb-tlb 
dlo'tlo-tlo | dlu'tlu-tlu dlu'tlu-tlu dlu^tlu-tlu | 
dlcf^tlcp-tlcp | dlatla-tla | dlo^tlo-tlo. || 
4* 



42 VOCAL GYMNASTICS. 

Dle-tle'tle dla-tla'tla dlo-tlo'tlo dla-tla*tla | dlx-tlx'tlx 
dle-tl^tle | dli-tli'tli dh-tlrtli | dlo-tlo'tlo dte-tte'tte 
dlo-tlo*tlo | dlu-tlu'tlu dlu-tlu'tlu dlu-tlu*tlu | 
dlcp-tlcptlcp | dla-tlcptla | dlo-tlo*tlo. || 

Dle-tle-tle' dla-tla-tla' dlo-tlo-tlo' dla-tla-tla* | 
dlx-tlx-tlx' dls-tle-tls' | dli-tli-tli' dli-tli-th* | 
dlco-tlco-tlco' dlY-tl#-tl«' dlo-tlo-tlo* | dlu-tlu-tlu' 
dlu-tlu-tlu' dlu-tlu-tlu* | dlcp-tlcp-tlcp* | dltt-tla-tld* | 
dlo-tlo-tlo*. || 

Gle'kle-kle gla'kla-kla glo'klo-klo gla*kla-kla | 
glx'klx-klx gl8*kl8-kle | gli'kli-kli glrkh-kli | 
glco'klo-klco gl^'kls-kltf glo*klo-klo | glu'klu-klu 
glu'klu-klu glu*klu-klu | glcpklcp-klq) | glci^kla-klci | 
glo^klo-klo. || 

Gle-kle'kle gla-kla'kla glo-klo'klo gla-kla*kla | 
glx-klx'klx gle-kls'kle | gli-kli'kli gh-klrkh | 
glo-klco'klco gl^-kl^'kl^ glo-klovklo | glu-klij'klij 
glu-klu'klu glu-klu*klu | glq)-klcp*klcp | gla-klcrklci | 
glo-klo*klo. || 

Gle-kle-kle' gla-kla-kla' glo-klo-klo' gla-kla-kla* | 
glx-klx-klx' gle-kls-kk* | gli-kli-kli' gh-kh-kh* | 
gloD-klco-kld)' gls-klH-kls' glo-klo-klo* | glu-klir-klu' 
glu-klu-klu' glu-klu-klu* | glcp-klcp-klq)* | glcx-kla-klo[*| 
glo-klo-klo*. || 

Vle'fle-fle vla'fla-fla vlo'flo-flo vla*fla-fla | vlx'flx-flx 
vle*fls-fle | vli'fli-fli vlrfli-ili | vla'Ao-fl© vls'fls-fls 
vlo*flo-flo | vlu'flu-fln vlu'flu-flu vlu*flu-flu | 
vlcp*fl(p-flcp | vla*fla-fla | vlo*flo-flo. || 

Vle-fle'fle vla-fla'fla vlo-flo'flo vla-fla*fla | vlx-flx'flx 
vl8-fl8*fl8 | vli-fli'fli vli-flrfli | vlo-flQ'flo vl*-fls'fis 
vlo-flo*flo | vlu-flu'flu vlu-flu'flu vlu-flu*flu | 
vlq)-flcp*flcp I vla-flotia | vlo-flo*flo. || 



VOCAL GYMNASTICS. 43 

Vle-fle-fle' vla-fla-fla' vlo-flo-flo' vla-fla-fla* | vlx-flx-flx' 
vle-fle-fle^ | vli-fli-fli' vli-fli-fli*| vl©-fl©-fl©' vlx-fls-fls' 
vlo-flo-flo* I vlu-flu-flu' vlu-flu-flu' vlu-flu-flu* I 
vlcp-flcp-flcp* I vla-fla-fla* | vlo-flo-flo\ || 

Ale'Me-Sle bla'&la-Sla blo'Slo-Slo bla*Sla-Sla | 
bh'Sh-eix We'We-Ms | bli'Mi-&li blrdli-&Ii | 
bl©'$l©-$l© blH'OlK-^lH blo^lo-eio | blu'Slu-Slu 

biu'aiu-aiu Mu^iu-mu | bicp»ai(p-&i<p | bia*aia-aia | 

blo*Slo-01o. || 

Ale-Sle'Me bla-dla'Sla blo-^lo^lo ^la-^la^la | 
blx-Sh'Mx blE-aie^le | Mi-dli'dli bli-&li*dli | 

bica-eio'Wo biK-mK'»i« Mo-aio^io | biu-aiu'&iw 

blu-Olu'dlu Mu-dlu^dlu | Mcp-aicp^lcp | bla-$la*Sla | 
blo-Slo^lo. || 
Ale-dle-dlc bla-dla-dla' blo-Slo-Slo' bla-$la-Sla* | 
blx-$lx-Slx< Me-Sk-Sls* | bli-dU-eii' bli-Sli-dh' | 

bi©-m©-m©' bis-ais-ei*' bio-aio-aio»jbiu-aiu-0iu' 

blu-01u-01u* | blu-01u-01u* I 61c[-01cp-0kp | 
fela-eia-eiff I blo-01o-01o*. || 

Zle'sle-sle zla'sla-sla zlo'slo-slo zla*sla-sla | zlx'slx-slx 
zl£*sle-sls | zli'sli-sli zh*sh-sli | zl©'sl©-sl© zI^'sIk-sI^ 
zlo*slo-slo | z1lj*s1ij-s1ij | zlu*slu-slu | zlu*slu-slu | 
zlq)*slcp-slq) | zla*sla-sla | zlo*slo-slo. || 

Zle-sle'sle zla-sla'sla zlo-slo'slo zla-sla*sla | zlx-slx'slx 
zl£-sle*sls | zli-sli'sli zli-sh*sli | zl©-sl©'sl© z1k-s1«'s1^ 
zlo-slo*slo | zlxj-slu'slu zlu-slivslu zlu-slu*slu | 
zlcp-slqp^slcp | zla-sla*sla | zlo-slo*slo. || 

Zle-sle-sle' zla-sla-sla' zlo-slo-slo' zla-sla-sla* | 
zlx-slx-slx' zk-sle-sle* | zli-sli-sli' zh-sli-slr | 
zl©-sl©-sl©' zl^-sl^-sl^' zlo-slo-slo* | zlu-slu-slu' 
zlu-slu-slu' zlu-slu-slu* | zlq)-slq>-sl(£* I zla-sla-sla* | 
zlo-slo-slo*. || 



44 VOCAL GYMNASTICS. 

Jlccle-cle jla'cla-cla jlo'clo-clo jla*cla-cla | jlx'clx-elx 
jle*cle-cl8 | jli'cli-cli jli N cli-cli | jlo'clo-clo jlx'cls-ciK 
jlo*clo-clo | jlxj'clxj-clu jlu'clu-clu jlu*clu-clu | 
jlcp*clcp-elcp | jla*cla-cla | jlo*clo-clo. || 

Jle-cle'cle jla-cla'cla jlo-clo'clo jla-ela*cla | jlx-clx'clx 
jle-cl£*cle | jli-cli'cli jh-ch*cli | jlo-clo'clo:> jl^-chs'cls 
jlo-clo*clo | jlu-clu'clu jlu-clu'clu jlu-clu*clu | 
jlcp-clcf N clcp I jla-cla*cla | jlo-clo*clo. || 

Jle-cle-cle' jla-cla-cla' jlo-clo-clo' jla-cla-cla* | 
jlx-clx-clx' jls-cls-cle | jli-cli-cli' jli-ch-ch* | 
jlo-clo-clo' jIh-cI^-cIk' jlo-clo-clo* | jlu-clu-clu' 
jlu-clu-clu' jlu-clu-clu* | jlcp-clcp-clqp x | jla-cla-cla* | 

jlo-clo-clo*. || 



EXERCISE VIII. 
Bre bra bro bra* | brx brs* | bri bri* | bro brx bro* | 

bru bra bru* | brcp* | bra* | bro*. || 
Dre dra dro dra* | drx dre* | dri dn* | dro drx dro*| 

dru dra dru* | drcp* | dra* | dro*. || 
Gre gra gro gra* j grx grs* | gri grr | gro grs gro* | 

grxi gra gru* | grcp* | gra* | gro*. || 
Yre vra vro vra* | vrx vrs* | vri vrr | vro vrtf vro* | 

vru vra vru* | vrqp* | vra* | vro*. || 
Are bra bro bra* | brx bre* | bri bri* | bro brs bro v | 

bru bra bru* | brcp* | bra* | bro*. || 
Zre zra zro zra* | zrx zre* | zri zn* | zro zr« zro* | 

zru zra zru* | zrcp* | zra* | zro*. || 
Jre jra jro jra* | jrx jrs* | jri jn* | jro jrs jro* | 

jru jra jru* | jrcp* | jra* | jro*. || 
Pre pra pro pra* | prx pre* | pri pri* | pro pn* pro* | 

pru pra pru* | prep* | pra* | pro*. || 



VOCAL GYMNASTICS. 45 

Tre tra tro tra* | trx trs* | tri tri* | trco trn tro* | 

tru tru tru* | trcp* | tra* | tro*. || 
Kre kra kro kra* | krx kre* | kri kri* | kro kr« kro* | 

kru km kru* | krcp* | kra* | kro*. || 
Pre fra fro fra* | frx fre* | fri fn* | fro frs fro* | 

fru fru fru* | frq>* | fra* | fro*. || 
0re Sra Sro Sra* | drx $r8*|&ri &ri*|&rc) &rs $ro*| 

dru $ru Sru* | Srcp* | Sra* | Sro*. || 
Sre sra sro sra* | srx sre* | sri srr | sro sr« sro* | 

sru sru sru* | srcp* | sra* | sro*. || 
Cre era cro era* | crx ere* | cri err | cro crb cro* | 

cru cru cru* | crcp* | era* | cro*. || 



EXERCISE IX. 

Brcpre bra'pra bro'pro bra*pra | brx'prx bi*£*pre | 
bri'pri brrpri | brco'prco brs'prs bro*pro | bru'pru 
bru'pru bru*pru | brcp*prcp | bra*pra | bro*pro. || 

Bre-pre' bra-pra' bro-pro' bra-pra* | brx-prx 7 bre-prs* | 
bri-pri' bri-pri* | brco-pro' brn-prK' bro-pro* | 
bru-pru' bru-pru' bru-pru* | brcp-prq:* | bra-pra* | 
bro-pro*. || 

Dre'tre dra'tra dro'tro dra*tra | drx'trx dr£*trs | 
dri'tri dri*tri | drco'tro drb'trb dro*tro | dru'tru 
dru'tru dru*tru | drcptrcp | dra*tra | dro*tro. || 

Dre-tre' dra-tra' dro-tro' dra-tra* | drx-trx' dre-trg* | 
dri-tri' dri-tri* | drco-trco' drb-trs' dro-tro* | dru-tru' 
dru-tru' dru-tru* | drq>-trcp* | dra-tra* | dro-tro*. || 

Gre'kre gra'kra gro'kro gra*kra | grx'krx grs*kre | 
gri'kri gri*kn | grco'kro grb'krtf gro*kro | gru'kru 
gru'kru gru*kru | grepkrep | gra*kra | gro*kro. || 



46 VOCAL GYMNASTICS. 

Gre-kre' gra-kra' gro-kro' gra-kra* | grx-krx' grs-kr£^| 
gri-kri' kri-krr | grco-kro' grx-krs' gro-kro^ | 
gru-kru' gru-kni' gru-kru v | grcp-krc^ | grQ-km x | 
gro-kro*. || 

Yre'fre vra'fra vro'fro vra x fra | vrx'frx vre^fre | vri'fri 
vrrfri | vro'fro vr^'frs vro^fro | vru'frij vru'fru 
vripfru | vrcp v frcp | vrcrfrci | vro^fro. || 

Yre-fre' vra-fra' vro-fro' vra-fra x | vrx-frx' vre-fre^ | 
vri-fri' vri-frr | vrco-frco' vr^-fr^' vro-fro 1 | vru-fru' 
vru-fru' vru-fru x | vrcp-frcp | vra-fra* ] vro-fra\ |] 

Are'Sre bra'&ra bro'Sro bra^ra | brx'Srx bre^rs | 
bri'Sri brrSri | brco'dro br^'Sr^s bro x dro | bru'dru 
bru'Sru bru N &ru | brcp&rcp | bra^Sra | bro^&ro. || 

Are-Sre' bra-$ra' bro-Sro' bra-Sra x | brx-Srx' 
brc-dre* | bri-Sri' bri-Srr | brco-drco' brH-drn' 
bro-Sro x | bru-dru' bru-dru' bru-drip | brcp-Srcp* | 
bra-Srci^ | br8-~&ro v . || 

Zre'sre zra'sra zro'sro zra x sra | zrx'srx zrs^srs | zri'sri 
zrrsri | zro'sro zr^'sr^ zro^sro | zru'sru zru'sru 
zru-sru | zrcpsrcp | zra^sra | zro^sro. || 

Zre-sre' zra-sra' zro-sro' zra-sra v | zrx-srx' zre-sre* | 
zri-sri' zn-srp | zrosrco' zr^-srK' zro-sro x | zru-sru' 
zru-sru' zru-sru N | zrcp-srcp | zra-sra* | zro-sro N . || 

Jre'cre jra'cra jro'cro jra v cra | jrx'crx jrs^cre | jri'cri 
jrrcn | jrwcrco jr^'cr^ jro v cro | jru'cru jru'cru 
jru x cru | jrcpcrcp | jra^cra jrovcro. || 

Jre-cre' jra'cra jro-cro' jra-cra* | jrx-crx' jrs-cr£ x | 
jri-cri' jn-crr | jrco-crco' jrx-crK' jro-cro x | jru-cru' 
jru-cru' jru-cru* | jrcp-crcp | jra-cra x | jro-cro\ || 



VOCAL GYMNASTICS. 47 



EXERCISE X. 



Bre'pre-pre bra'pra-pra bro'pro-pro bra v pra-pra 
brx'prx-prx br^prs-pre | bri'pri-pri brrpn-pri 
bro'pro-pro brK'prx-pr^ bro-pro-pro | bru'pru-pru 
bru'pru-pru brirpru-pru | brcpprcp-prcp | bra*pra-pra 
bro x pro-pro. || 

Bre-pre'pre bra-pra'pra bro-pro'pro bra-pra x pra 
brx-prx'prx brc-pre^pre | bri-pri'pri bri-prrpri 
br co-pro pro br^-pr^'prx bro-pro-pro | bru-pru'pru 
bni-pru'pru bru-prirpru | brcp-prcf^prcp |bra-pra x prcxj 
bro-pro x pro. || 

Bre-pre-pre' bra-pra-pra' bro-pro-pro' bra-pra-pra v 
brx-prx-prx' bre-prg-prc* | bri-pri-pri' bri-pri-pn» 
bro-pro-pro' br^-pr^-prs ' bro-pro-pro* | bru-pru-pru 
bru-pru-pru' bru-pru-pru x brcp-prcp-prcp 

bra-pra-pra* | bro-pro-pro*. || 

Dre'tre-tre dra'tra-tra dro'tro-tro dra v tra-tra 
drx'trx-trx drs x trs-tre | dri'tri-tri drrtri-tri 
dro'tro-tro dr^'trs-trK dro x tro-tro | dru'trn-trij 
dru'tru-tru drirtru-tru | drcptrcp-trcp | dra*tra-tra 
dro x tro-tro. || 

Dre-tre'tre dra-tra'tra dro-tro'tro dra-tra x tra 
drx-trx'trx drs-tre^tre | dri-tri'tri dri-trrtri 
dro-tro'tro drb T -trK'tr^ dro-tro*tro | dru-tru'tru 
dru-tru'tru dru-tru v tru | drcp-trcptrcp | dra-tra*tra 
dro-tro x tro. || 

Dre-tre-tre* dra-tra-tra' dro-tro-tro' dra-tra-tra v 
drx-trx-trx' drs-tr£-tre v | dri-tri-tri' dri-tn-trp 
dro-tro-tro' dr^-trH-trx' dro-tro-tro* | dru-tru-tru- 
dru-tru-tru' dru-tru-tru v | drq)-trcp-trcp x | dra-tra-tra x 
dro-tro-tro*. II 



48 VOCAL GYMNASTICS. 

Gre'kre-kre gra'kra-kra gro'kro-kro gra v kra-kra 
grx'krx-krx gre x kre-kre | gri'kri-kri grrkri-kn 
grco'krco-krco gr^'kr^-kr^ gro v kro-kro | gru'kru-kru 
gru'kru-kru gru\kru-kru | grcpkrcp-krcp | grcrkra-kra 
grerkro-kro. || 

Gre-kre'kre gra-kra'kra grokro'kro gra-kra\kra 
grx-krx'krx gre-kre\kre | gri-kri'kri gri-krrkri 
grco-krco'krco grx-kr^'kr^ gro-krovkro | gru-kriT'krir 
gru-kru'kru gru-kru\kru | grcp-krcpkrq) | gra-kra\kra 
gro-kro^kro. || 

Gre-kre-kre' gra-kra-kra' gro-kro-kro' gra-kra-kra^ 
grx-krx-krx' gre-kre-kre x | gri-kri-kri' gn-kri-krp 
grco-krG3-kro' gr^-krK-krs' gro-kro-kro* | gru-kru-krij' 
gru-kru-kru' gru-kru-kru* grcp-krcp-krcp 

gra-kra-kra N | gro-kro-kro x . || 

Vre'fre-fre vra'fra-fra vro'fro-fro vra x fra-fra 
vrx'frx-frx vre N fre-fre | vri'fri-fri vrrfn-fri 
vrco'frcD-frco vr^'fr^-frK vrotfro-fro | vru'fru-frju 
vru'fru-fru vruvfru-fru | vrcpfrcp-frcp | vra*fra-fra 
vro x £ro-fro. || 

Vre-fre'fre vra-fra'fra vro-fro'fro vra-fratfra 
vrx-frx'frx vre-fre x fre vri-fri'fri vri-frrfn 

vrco-frco'frco vrx-fW'frH vro-frotfro | vru-frij'frij 
vru-fru'fru vru-frutfru | vrcp-frcpfrcp | vra-fratfra 
vro-frotfro. || 

Vre-fre-fre' vra-fra-fra' vro-fro-fro' vra-fra-fra v 
vrx-frx-frx' vre-fre-fre* | vri-fri-fri' vri-fn-frr 
vrca-frco-frco' vrK-fr^-frK' vro-fro-fro* | vru-fru-fru 
vru-fru-fru' vru-fru-fru* | vrcp-frcp-frcp | vra-fra-fra* 
vro-fro-fro*. II 



VOCAL GYMNASTICS. 49 

Are'Sre-Sre bra'$ra-$ra bro'&ro-^ro bra*$ra-$ra 
brx'drx-Srx bre^rg-^rs | bri'Sri-Sri brr&ri-Sri 
bro'drcd-Srco brH'&rtf-Srtf bro v dro-dro | bru'\h , u-&ru 
bru'Sru-Sru bru x iku-&ru brq) v Srq>-Srq) 

brGT&rcx-Sm | bro^ro-dro. || 

Are-Sre'&re bra-$ra'$ra bro-dro'Oro bra-Sra^ra 
brx-Srx'Srx bre-vh*£ x drE | bri-vh-i'Sri bn-Srr&n 
bro-drco'dro brs-\}rH'$rK bro-$ro x frro| bru-vh-u'dru 
bru-Sru'Sru bru-dru^ru brcp-SrcpSrq) 

bra-£h*GrSm | bro-dro^&ro. || 

Are-Sre-&re' bra-\h*a-Sra' bro-Sro-dro' bra-dra-Sra 1 
brx-drx-drx' bre-Sre-Srs* | bri-^ri-^ri' bri-Sn-drr 
brco-drco-ftrco' brs-Srtf-$r«' bro-Sro-Sro x 
bru-\h*ij-0ru' bru-0ru-0ru' bru-0ru-0ru* 
brc[)-@rcp-@rcp* | bra-0ra-0ra x I bro-0ro-0r8 v . | 

Zre'sre-sre zra'sra-sra zro'sro-sro zra x sra-sra 
zrx'srx-srx zre^sre-srE | zri'sri-sri zrrsrx-sri 
zrco'svco-srco zrb r/ srK-srs zro*sro-sro | zru'sru-sru 
zru'sru-sru zru x sru-sru | zr(f v srq>srcp | zrcrsra-sra 
zro v sro-sro. || 

Zre-sre'sre zra-sra'sra zro-sro'sro zra-sra x sra 
zrx-srx'srx zre-sre^sre zri-sri'sri zri-srrsn 

zrco-srco'srco zrb'-srysr^ zro-sro^ro | zru-sru'sru 
zru-sru'sru zru-sru v sru | zrqp-srcpsrcp | zra-srcrsra 
zro-sro v sra. || 

Zre-sre-sre' zra-sra-sra' zro-sro-sro' zra-sra-sra v 
zrx-srx-srx' zre-sre-sre* | zri-sri-sri' zn-sri-srr 
zro-srca-srco' zra-srs-srx' zro-sro-sro x | zru-sru-sru 
zru-sru-sru' zru-sru-sru* | zrcp-srcp-srcp | zra-sm-srcp 
zro-sro-sro*. |] 
5 



50 VOCAL GYMNASTICS. 

Jre'cre-cre jra'cra-cra jro'cro-cro jra*cra-cra | 
jrx'crx-crx jre'crt-crs | jri'cri-cri jrrcri-cn 
jrco'cro-cro jrH'crK-crx jro*cro-cro | jru'cru-cru 
jru'cru-cru jru*cru-cru | jrcpcrcp-crcp | jra*cra-cra 
jro*cro-cro. || 

Jre-cre'cre jra-cra'cra jro-cro'cro jra-cra*cra 
jrx-crx'crx jrg-cr^crg | jri-cri'cri jn-crrcn | 
jro-crco'crco jr^-crH'crK jro-cro*cro | jru-cru'cru 
jru-cru'cru jru-cru*cru | jrcp-crcpcrcp | jra-cra*cra | 
jro-cra^cra. || 

Jre-cre-cre' jra-cra-cra' jro-cro-cro' jra-cra-cra* | 
jrx-crx-crx' jre-cre-crc* | jri-cri-cri' jri-cri-crr | 
JYCD-CYCD-crco' jr^-cr^-crx' jro-cro-cro* | jrij-cru-cru' 
jru-cru-eru' jru-cru-cru* | jrqj-crcp-crcp* | jra-cra-cra* | 
jro-cro-cro*. || 



EXERCISE XI. 

De-ge' da-ga' do-go-' da-ga* | dx-gx' de-g£* | di-gi' 

di-gi* | dco-go' d^-g^' do-go* | du-gu' du-gu' 

du-gu* | dcp-gqA |] 
Te-kc ta-ka' to-ko' ta-ka* | tx-kx' ts-ke* | ti-ki' 

ti-ki* | tco-kco' t^-kb T/ to-ko* | tu-kio' tu-ku' 

tu-ku* | tq>kq>*. || 

De-ge*te-ke | da-ga*ta-ka | do-go*to-ko | da-ga*ta-ka | 
dx-gx*tx-kx | d£-ge*ts-ks | di-gi*ti-ki | di-gi*ti-ki | 
dco-gco*tcD-kco | d^-g«*tK-kK| do-go*to-ko | du-giPtu-ku | 
du-gu*tu-ku | clu-gu*tu-ku | d(p-gcp*tcp-kcp. || 

De-ge'te-ke da-ga'ta-ka do-go'to-ko da-ga*ta-ka | 
dx-gx'tx-kx de-ge*tg-kc di-gi'ti-ki di-gi*ti-ki 

doD-gco'to-ko d^-gK'tK-kK do-go*to-ko | du-gu 'tu-ku 
du-gu'tu-ku du-gu*tu-ku | dqvgcptcp-kcp. || 



VOCAL GYMNASTICS. 51 

De-ge'te-ke da-ga'ta-ka do-go'to-ko da-ga'ta-ka 
dx-gx'tx-kx de-ge'te-ke di-gi'ti-ki di-gi'ti-ki 
do-gco'tco-kco d^-gK't^-kK do-go'to-ko dij-gu'tij-kij 
du-gu'tu-ku du-gu'tu-ku dcp-gcptcp-kcp. || 



EXERCISE XII. 

Dwe dwa dwo dwa* | dwx dwe* | dwi dwi*|dwG> dws 

dwo* | dwu dwu dwu* | dwq>* | dwa* | dws*. || 
Twe twa two twa* | twx twe* | twi twi* | twco tws 

tWO* | tW T U tWU tWU* | tWCp* I tWGX* I tW8*. || 

Dwe twe dwa'twa dwo'two dwa v twa | dwx'twx 
dwe*twe | dwi'twi dwi*twi | dwco'two dw^'tws 
dwo*two | dwu'twij dwu'twu dwu*twu | dwcp*twqp | 
dwavtwa | dws*twa. || 

Dwe-twe' dwa-twa' dwo-two' dwa-twa* | dwx-twx' 
dwe-twe* | dwi-twi' dwi-twi* | dwo-two' dw^-twn' 
dwo-two* | dwu-twu' dwu-twu' dwu-twu* | dwq)-twcp* | 
dwa-twa* | dwa-twa*. !| 

Dwe'twe-twe dwa'twa-twa dwo'two-two dwa*twa-twa| 
dwx'twx-twx dwe*twe-twe | dwi'twi-twi dwrtwi-twi | 
dwo'two-two dwH'tw^-tw^ dwo*two-two | dwu'twu- 
twu dwu'twu-twu dwu*twu-twu | dwcptwcp-twcp | 
dwci*twGx-twa | dwa*twa-twa. || 

Dwe-twe'twe dwa-twa'twa dwo-two'two dwa-twa*twa| 
dwx-twx'twx dwe-twe*twe | dwi-twi'twi dwi-twx*twi | 
dwco-two'two dw^-twK'tw^ dwo-two*two | dwu-twu' 
twu dwu-twu'twu dwu-twu*twu | dwq;-twc£*twq) | 
dwcx-twa»twcx | dwa-tw8 v twa. || 



52 VOCAL GYMNASTICS. 

Dwe-twe-twe' dwa-twa-twa' dwo-two-two' dwa-twa-twa v | 
dwx-twx-twx' dwe-tw£-tws^ | dwi-twi-twi' dwi-twi-twr| 
dwQ-two-twcD' dw^-tw^-twK' dwo-two-two* | dwu- 
twu-twu' dwu-twu-twu' dwu-twu-twu v | dwcp-twcp- 
twcp> | dwa-twa-twoo | dwo-two-two\ || 



EXERCISE XIII. 



Gwe gwa gwo gwa x | gwx gw£* | gwi gwv | gwo gw# 
gwo* I gwu gwu gwu x I gwcp* I gwcr I gW8 x . || 

Kwe kwa kwo kwa x | kwx kws x | kwi kwr | kwco kwn 
kwo x | kwu kwu kwu v | kwcp* | kwa* | kwo x . || 

Gwe'kwe gwa'kwa gwo'kwo gwa x kwa | gwx'kwx 
gw£vkw£ | gwi'kwi gwrkwi | gwco'kwco gw^'kw^ 
gwo v kwo | gwu'kwu gwu'kwu gwirkwu | gwcp^kwcp | 
gwcrkwa | gwa x kwo. || 

Gwe-kwe' gwa-kwa' gwo-kwo' gwa-kwa x | gwx-kwx' 
gw£-kw£* | gwi-kwi' gwi-kwi x | gwokwco' gw^-kws' 
gwo-kwo v | gwu-kwu' gwu-kwu' gwu-kwu* | gwep-kwcp* | 
gwa-kwcp | gwo-kwo\ || 

Gwe'kwe-kwe gwa'kwa-kwa gwo'kwo-kwo gwa^kwa- 
kwa | gwx'kwx-kwx gw£*kw£-kw£ | gwi'kwi-kwi 
gwrkwi-kwi | gwco'kwco-kwco gws'kw^-kwK gwo*- 
kwo-kwo | gwu'kwu-kwu gwu'kwu-kwu gwu^kwu- 
kwu | gwcp^kwcp-kwcp | gwcrkwa-kwa |gwavkwa-kwo. || 

Gwe-kwe'kwe gwa-kwa'kwa gwo-kwo'kwo gwa-kwa*- 
kwa | gwx-kwx'kwx gw£-kw£ x kw£ | gwi-kwi'kwi gwi- 
kwrkwi | gwcD-kwco'kwco gwY-kw«'kw« gwo-kwo*- 
kwo | gwu-kwu'kwu gwu-kwu'kwu gwu-kwu^kwu | 
gwcp-kwcp x kw(p | gwa-kwGrkwo. | gwo-kwovkwo. || 



VOCAL GYMNASTICS. 53 

Gwe-kwe-kwe' gwa-kwa-kwa' gwo-kwo-kwo' gwa-kwa- 
kwa* | gwx-kwx-kwx' gwc-kwe-kwe* | gwi-kwi-kwi' 
gwi-kwi-kwi' | gwco-kwo-kwco' gwx-kwK-kw^' gwo- 
kwo-kwo x | gwu-kwu-kwu' gwu-kwu-kwu' gwu-kwu- 
kwu x | gwcp-kwcp-kwcp | gwa-kwa-kwa* | gwa- 
kwa-kwa*. II 



EXERCISE XIV. 

We-qe' wa-qa' wo-qo' wa-qa* | wx-qx' ws-qe x | wi-qi' 
wi«qr | wco-qw w»-q^' wo-qo* | wu-qu' wu-qu' 
wu-qu* | wq)-qq)* | wa-qa* | wa-qa*. || 

We'qe-qe wa'qa-qa wo'qo-qo wa*qa-qa | wx'qx-qx 
we*q&-qe j wi f qi-qi wi*qi-qi | wco'qco-qw WH*q«-q« 
wo*qo-qo | wu'qu-qu wu'qu-qu wu*qu-qu| wq)*qc()-qcp. || 

We-qe'qe wa-qa'qa wo-qo'qo wa-qa*qa | wx-qx'qi 
ws-q£*qe | wi-qi'qi wi-qi*qi | wco-qcd'qco ws-qY'qs 
wo-qo*qo | wiT-qij'qu wu-qu'qu wu-qu*qu | wcp-qcpqcp | 
wa-qa*qa | wa-qa*qa. || 

We-qe-qe' wa-qa- qa' wo-qo-qo' wa-qa-qa* | wx-qx-qx' 
we-qe-qe* | wi-qi-qi' wi-qx-qi* | wco-qco-qw ws-qtf-qs' 
wo-qo-qo* | wu-qu-qi:' wu-qu-qu' wu-qu-qu* | 
wcp-qcp-qcp* | wa-qa-qa* j wa-qa-qa*. || 



EXERCISE XV. 
We-ve' wa-va' wo-vo' wa-va» | wx-vx' we-ve* | wi-vi' 

WI-VI* |WCD-VG)' WS-VS' WO-VO* | WU-VU' wu-vu' wu-vu* | 

wcp-vcp* I wa-va* | wo-va*. || 

5* 



54 VOCAL GYMNASTICS. 

Ve-we' va-wa' vo-wo' va-wa x | vx-wx' v£-W£* | vi-w 
vi-wr | vco-wco' vs-w«' vo-wo x | Vtt-WIJ' VU-WU' 
vu-wu x I vcp-wcp* I va-wa^ | vo-wo v . || 

We-ve^ve-we | wa-va^va-wa | wo-vo»vo-wo | wa-vawa-wa | 
wx-vx*vx-wx | W£-V£H T £-W£ | wi-vi»vi-wi | wi-ypvi-wi | 
wco-vclPvo-wgo | w«-vs»v«-w« | wo-vo^vo-wo I WIJ-VU^VIJ- 
wu I wu-vu x vu-wu I wu-virvu-wu I wcp-vcpvcp-wcp I wa- 
va x va-wa|wo-vo v vo-TV8. [| 

Ve-we^we-ve | va-wa^wa-va | vo-wo^wo-vo | va-wa^wa-va | 
vx-wx^wx-vx | v£-W£*w£-ve | vi-wi x wi-vi | vi-wpwi-vi | 
vo-wo v wq-vq I v^-w« x w^-vh | vo-wonvo-vo I VIJ-WIJ v Wtt- 
vij I vu-wirwu-vu | vu-wu v wu-vu | vcp-wcpwcp-vq) | va- 
wgpwgx-vq I vo-wo^wo-vo. II 



EXERCISE XVI. 

Zve zva zvo zva x | zvx zv£* | zvi zvr | zva zvk zvo* | 

zvij zvu zvu x I zvcp* | zvgt | zvo\ [| 
Sfe sfa sfo sfa x | sfx sf£ x | sfi sfr | sfo sf« sfo x | 

sfu sfu sfu* | sfcp | sfa* | sfe 1 . || 

Zve'sfe zva'sfa zvo'sfo zva^sfa | zvx'sfx zv£*sf£ | zvi'sfi 
zfrsfi | zvcD'sfco zve'sfe zvo v sfo | zvu'sfu zvu'sfu 

ZVU x sfu I ZV(p N sfcp I ZVGTsfd | ZV8 x sfo. || 

Zve-sfe' zva-sfa' zvo-sfo' zva-sfa x | zvx-sfx' zv£-sf£* | 
zvi-sfi' zvi-sfr | zvco-sfo3' zv^-sfs' zvo-sfo* I zvu-sfu' 
zvu-sfu' zvu-sfu v I zvcp-sfq)* I zvQ-sfcr I zvo-sfo*. || 

Zve'sfe-sfe zva'sfa-sfa zvo'sfo-sfo zva x sfa-sfa | zvx'sfx-sfx 
zv£ x sf£-sf£ I zvi'sfi-sfi zvrsfr-sfi | zvco'sfco-sfo VZS'sfe- 
sfs zvo s sfosfo I zvu'sfu-sfu zvu'sfu-sfu zvu x sfu-sfu I 
zvcp^sfcp-sfcp I zvGx v sfa-sfci | zvo x sfo-sfo. || 



VOCAL GYMNA STICS. 



55 



Zve-sfe'sfe zva-sfa'sfa zvosfo'sfo zva-sfa*sfa | zvx-sfx'sfx 
zve-sfe*sfe | zvi-sfi'sfi zvi-sfi*sfi | zvco-sfco'sfco zvb'-sfn' 
sf# zvo-sfo*sfo | zvu-sfu'sfu zvu-sfu'sfu zvu-sfu*sfu I 
zvcp-sfcp*sfq) | zvQ-sfGrsfa | zva-sfo*sfo. || 



Zve-sfe-sfe' zva-sfa-sfa' 
zvx-sfx-sfx' zve-sfe-sfe* 
sfo-sfco' zvtf-sfn-sfV 
zvu-sfu-sfu' zvu-sfu-sfu* 

ZVO-sfo-sfo*. II 



zvo-sfo-sfo' zva-sfa-sfa' | 

zvi-sfi-sfi' zvi-sfi-sfi* | zvco- 

zvo-sfo-sfo* | zvu-sfu-sfu' 

I zvcp-sfcp-sfcp* | zvot-sfci-sfGi* | 



EXERCISE XVII. 

Ab' eb' ib' ob' ub* | ad ed id od ud* | ag eg ig 
og ug* | av ev iv ov uv* | ab eb ib ob ub* | 
az ez iz oz uz* | aj ej ij oj uj* | al el il ol ub | 
ar er ir or uf | am em im om urn* | an en in 
on urn | ai] ei] in orj ur)* | acj ecj ICJ ocj ucj* | 
asr eg- \% o°r ujp. || 

Ap ep lp op up* | at et it ot ut* | ak ek ik ok 
uk* | af ef if of uf* | ad ed id od ud* | as es 
is os us* | ac ec ic oc uc* | a6 et ic 06 u£* | 
ax ex ix ox ux\ II 



Ab' 
Ad' 



ib 

OZ' 

Acj' 
A- 
Ad' 
Af 
An' 



ap* 
at* 
ab 

» ef* 
' id 

1 os* I 

ac* 
ax* 
ag* 
ak* 



I eb' ep* I ib' ip* | ob' op* | ub' up*. || 
I edc et* I id' it* I od' ot* | ud' ut*. || 
I eg' ek* I ig' ik* | og' ok* | ug' uk*. || Av af*| 
I iv if* I ov of* I uv uf*. || Ab' ad* | eb' ed*| 
1 I ob' od* I ub' ud*. || Az' as* | ez' es* | iz' is*| 
uz' us*. || Aj' ac*|ej' ec*|ij' ic*|oj' oc*|uj' uc*. || 



I ecj' e6* 

I eg - ' ex* 

I ed' 

I et' 



ek* I 



an* I en' eij* 



icj' ib 
ig-' IX* 

id' ig* 
if ik* 
in' ir)* 



ocj' 06* 

og - ' ox* 

od' og* 

ot' ok* 

on' oi]* 



ucj' 116*. 
USf' ux*. 
ud' ug*. 
uf uk*. 
un' uq*. 



56 VOCAL GYMNASTICS. 



EXERCISE XVIII. 

Beb* I bebz* || beb* | bebz* || bet* | bets* || bek* | beks* || 
barb | barks* | barkt* || bad* | badst* || bxm* | bxmz* | 
bxmst* || bxst* | bxsts* || beg* | begz* | begst* || bid* | 
bidz* | bidst* || b^b*|b^bz* || buks* | bukt*. || 

Dip* | dips* | dipt* || dog* | dogz* | dogd* || dup* | 
dups* | dupt* || dub* | dubz* | dubd*. || 

Gen* | genz* | genst* || gag* | gagz* | gagst* ||god*| godz*| 
godst* || gul* I gulz* || gum* | gumz* || gun* | gunz*. || 

Lev* | levz* | levd* || lxv* | lxvz* | lxvd* || hv* | livz* | 
hvst* | hvd* | livdst* || lob* | lobz* | lobd* | luk* j 
lukt* | lukst*. || 

Med* | medz* | medst* | mek* | nieks* | mekt || map* | 
maps* | mapt* || mil* | milz* | mild* || mil* | milz* | 
mild* || mob* | mobz* | mobd* || mok* | moks* | mokt*. || 

Nem* | nemz* | nemd* | nemdst* || nap* | naps* | napt* || 
nxl* | nxlz* | nxld* | nxldst* || nok* | noks* | nokt*. || 

Til* | tilz* | tild* || tok* ] toks* | tokt* || txm* txmz* | 
txmd* || txb* | txbz* | txbd* || tib* | tibz* | tibd*. || 

Don wists hx twists be grists wib lists in mists 
arcpnd his fists, and bosts hx rosts and tosts on 
posts be hosts ov gosts aloi) be kosts. 



END OF THE EXERCISES. 



VOCAL GYMNASTICS. 57 



THE PAMPHONETICON : 

A UNIVERSAL ALPHABET; OR, AN ALPHABET FOR ALL 

LANGUAGES. 

This Alphabet comprises all the letters of the Phonetic Alphabet for the 

English Language, with additional ones to represent 

sounds peculiar to foreign languages. 



ADVANTAGES OF THE PHONETIC ALPHABET. 

Comstock's Phonetic Alphabet is the common, or Roman 
alphabet, not only so extended, by the addition of new letters, 
that there is a character for every articulate sound, but so 
improved by the introduction of signs for the various modifi- 
cations of the voice in speech, that there is a character for 
every accent, inflection, intonation, &c. Hence it must be 
considered a perfect alphabet. The adoption of this alphabet 
would be attended with the following important advantages : — 

1. It would give stability to the orthography and pronunci- 
ation of every word in the language. 

2. It would enable one who has become versed in the ele- 
mentary principles, to spell any word that he hears, and to 
pronounce any word that he sees, with readiness and accuracy. 

3. It would enable one to spell and read in one-twentieth 
the time required by the present absurd and barbarous ortho- 
graphy. Hence, in acquiring an education, there would be a 
great saving not only of money, but of time, which is more 
valuable than money. 

4. It would render the teaching and the learning of the 
English language, which, by the old theory, are extremely 
irksome, highly interesting. 



58 ADVANTAGES OF 

5. It would be invaluable, even as a means of teaching the 
present orthography- for, by it, a perfect knowledge of the 
language might be acquired in one half the time which is ab- 
solutely necessary to become but partially acquainted with it 
by means of the common, or Roman alphabet. 

6. It would enable millions, who otherwise would remain 
forever ignorant of the use of letters, to teach themselves to 
read, and, consequently, to acquire an education. 

7. It would not only preclude the necessity of pronouncing 
dictionaries, but interdict provincialisms ; because, according 
to this theory, all words are spelled as they are pronounced, 
and, consequently, pronounced as they are spelled, every gra- 
phic word being a perfect Daguerreotype of the vocal word 
which it represents. 

8. As the process of spelling phonetically consists in utter- 
ing, in their consecutive order, the elementary sounds of the 
words, instead of the names of the letters, the adoption of this 
alphabet would necessarily render articulation and pronuncia- 
tion perfect. 

9. By means of this alphabet, which consists not only of 
letters, but of tone-marks^ an author may transmit to posterity 
the exact sense reading of his works. Hence, all ambiguity 
would be obviated, as but one construction could be given to 
his language. 

10. As, in phonetic spelling, most of the words have fewer 
letters than are employed in our present orthography, this 
alphabet would enable a writer to put more matter upon the 
same page. 

11. By means of this alphabet, a knowledge of just elocu- 
tion would be implanted in the mind of the student, in the 
very incipient, as well as in every subsequent stage of his 
education. Hence no one, properly educated through the 
medium of the Phonetic Alphabet, could possibly be a bad 
reader, or a bad speaker. 



THE PHONETIC ALPHABET. 59 

12. The Phonetic Alphabet would greatly facilitate the 
study of languages; because the same sound is invariably 
represented by the same letter in all the languages in which 
the sound occurs, and because the tone-marks enable the 
learner to give a foreign language the same elocutionary 
expression that is given to it by one to whom the language is 
vernacular. 

13. The adoption of this alphabet would not only be the 
means of greatly advancing the cause of science and litera- 
ture, but would be invaluable to the missionary in dissemi- 
nating a knowledge of the gospel among the heathen. 

True, there are alphabets that claim to be phonetic, by 
which some of these advantages could be realized ; but, as 
they have no tone-marks, and not even a letter for every 
articulate sound, the inducement to adopt one or all of them, 
whether native or exotic, is not sufficient. Before the world 
will be willing to suffer the inconveniences of introducing a 
new alphabet, they must be satisfied that the alphabet has no 
defects ; — that it is perfect in its parts. Hence, so long as 
there is any deficiency, either in letters or in tone-marks, the 
world will be likely to reject every application for its adoption. 
But an alphabet with a letter for every articulate sound, and 
a full set of appropriate tone-marks, must meet the approba- 
tion and hearty support of all, whether Greek, French, Ger- 
man, Spanish, Italian, or Chinese. Our common, or Roman 
alphabet, with these improvements, universally adopted, would 
be the lever by which the people, individually, could elevate 
themselves, and by which, collectively, they could move the 
world itself. With this view of the subject, we trust that the 
friends of education, of morality, and of religion, will use 
their individual, as well as their collective efforts, to promote 
the introduction of the Phonetic Alphabet as speedily as pos- 
sible among all the nations of the earth. 



60 



THE PAMPHONETICON. 



THE PAMPHONETICON: 

A UNIVERSAL ALPHABET; OR, AN ALPHABET FOR ALL LANGUAGES. 

BY ANDREW COMSTOCK, M. D. 

This Alphabet comprises all the letters of the Phonetic Alphabet for the 
English Language, with additional ones to represent sounds peculiar to 
foreign languages. The sound of each letter is shown by the italic letter 
in the word or words in the same horizontal line. 



VOWELS. 


ENGLISH. 


FRENCH. 


SPANISH. 


ITALIAN. 


A 


a 


arm 




las 


padre 


arte 


A 


a 






Id 




matto 


A 


a 


an 










E 


e 


ale 




ete 


bueno 


velo 








dare 




iSte 




erba 


8 


E 


end 




belle 




per 


I 


i 


He 








io 


I 


X 


eye 




ile 


Dios 


in 


I 


X 






tl 






X 


X 


bl(Ri 


issian) 








I 


I 


m 










T 


T 


•TfAefc (Gr.) 


du 






T 


I 






une 






U 


u 


tube 










i U 


u 






leu 






U 


u 


UV 




i e 






Q 


Q 


old 




trone 


OYO 


dolce 








OfXlXOOV 


(Gr.) 


bonne 




dotto 


K 


H 


lose, ' 


STI£(GlV 


foiile 


sur 


muro 


U 


U 


fall 




•poule 




twtto 





O 


all 
















on 










a 


a 


ozl 













<p 


out 






auna 


eawsa 


CONSONANTS. 










B 


b 


bow 




5eau 


oravo 


bene 


P 


p 


pit 




_plan 


pena 


joadre 



THE PAMPHONETICON. 



61 



CONSONANTS. ENGLISH. 


FRENCH. 


SPANISH. 


ITALIAN. 


D d 


day 


(ion 


dedo 


<fi 


T t 


fin 


femps 


fecho 


tu 


Gg 


# a y 


gai 


#olpe 


gusto 


K k 


kite 


cote 


calle 


<?osa 


r 7 


yk}j.\La. (Greek) 






Xx 


Xaog (Gr.) 




yota 


bit(5jp (Ger.) 


V v 


vile 


vue 


varon 


vengo 


F f 


/ame 


fiere 


/acil 


/oro 


V V 






po£re 




A b 


j^en 


dsXru (Gr.) dacZ 




d 


£/dn 




facil 




Z z 


zone 


z4ro 




rosa 


S s 


sin 


sur 


sol 


se 


J J 


azure 


youe 






C c 


s/mde 


clmt 






L 1 


fight 


lyre 


?una 


frbro 


L 1 




siecle 






L I 


wola (Polish) 








R r 


roll 


rue 


raro 


re 


R r 




maitre 






M m 


met 


mou 


wano 


mano 


M m 




pris??ze 






N n 


no 


won 


wad a 


710 


N n 




achwe 






W i) 


song 








It n 




hon 






Ww 


wo 




^weso 


qwanto 


Q q 


tvh&t 








Y y 


yoke 


filZe 


verba 




X x 


X f(Gr.) 


*t(5£ (German) 




D<3 


^ob 






<7enio 


•C 6 


efcA 






certo 


Q? 


exist 


exact 






X x 


fix 


sexe 


extra 




11 n 


nain (Arabic) 








Hh 


7mt 








Hh 


Aem ! 









62 THE PAMPHONETICON. 

Pamphoneticon (from itw, all ; ^t'^wa, vocal sounds, and 
coj/, collection) comprises, in its signification, not only a letter 
for every elementary sound in all the languages of the globe, 
but characters for the various modifications of the voice in 
speech ; namely, accent, inflection, intonation, modulation, 
force, and time. Such an assemblage of letters and tone- 
marks is called a phonetic alphabet, and language, written or 
printed in such an alphabet, is called phonography. 

Phonography (from ^wwj, voice, and ypa^w, to write, to 
delineate), as a science, respects the philosophy, the principles, 
of articulate sounds as a means of communicating thought 
from mind to mind ; and, as an art, the true representation of 
these sounds, as well as their various modifications (accent, 
inflection, intonation, modulation, force, and time) by means 
of written or printed characters. 

The Pamphoneticon, or Universal Alphabet, is con- 
structed on the following practical principles : — 

1. All the letters of the old alphabet are not only employed 
in the Phonetic Alphabet, but in a way which produces as 
little novelty as possible in the face of any printed language. 
Hence he who is familiar with any particular language in the 
Pioman, or even in the Greek characters, can very readily 
master the pronunciation of any language printed in the 
Phonetic Alphabet 

2. Wherever a Greek letter represents a sound for which 
the Roman alphabet has no fixed character, the Greek letter is 
employed to represent this sound. Hence, in whatever lan- 
guage this sound may occur, the same Greek letter will be 
found, when the language is printed in the Phonetic Alphabet. 
And, as in every civilized country the Greek is studied, it 
follows that he who meets with this Greek letter in the Pho- 
netic Alphabet, or in Phonetic print, finds a character with 
which be is perfectly familiar. 

3. The capital and the small letter of each pair of new 
letters are of the same shape; even, in numerous instances 
of letters which are modifications of old ones, the capital and 
corresponding small letter are alike in form ; and the com- 
pound letters are constructed of the simple letters whose 
sounds they represent; in sixteen out of the twenty-four 
letters which represent voivel sounds, the capital and the small 
letter of each pair are of the same shape. The advantage of 
this is, that when the pupil has learned the capital, he has 
learned the small letter also ; and vice versa. 



THE PAMPH ONETICON. 63 

THE LORD'S PRAYER IN GREEK. 

As pronounced by Christophorus Plato Castanis, of 

Greece, the author of an " Essay on Ancient and 

Modern Languages" "The Greek Exile" $c. 



Explanation. — The first line is the original Greek; the second com- 
prises the same words in Conistock's Alphabet, and the third is a literal 
translation in this alphabet. 

As Comstock's accentual marks represent inflection and intonation, as 
well as accent, one who is entirely unacquainted with the Greek, may read 
this classic language, in his alphabet, with perfect ease, and with the same 
modifications of the voice, the same elocutionary expression, as a native 
of Hellas. 



Bdrtp ij/xwv 6 Iv rolq oupavoTq, dytaff&rjroj to 

Fa'ter xmom' q en txs sranxs\, ayxasSx'tco to 

Fa'bur ov us h^ [art] in be he x vnz, ha'lcoed bx be 

ovopd os. i/Mizco 1} fiao-ilzta aw YsvrjftiJTa) 

Qnonia* ss* : elSe'tco x vasilx^a s^ : yenxSx'tco 
nem x ov bx*: 1st kum be kirpdum ov bxx: let bx dun 

to &eXrjfid o~tJ, wq iv obpavaj, xai e~l rr t q y^q' rov 

to Oelxma' s^, cos en franco', ke epi' txs yxsv : ton 
be tviI ov bx, az in hevn, so on bx ur£h : be 

aprwv ij/idjv rov £.-u>uo~tw doq ^p~-^ o-rjp.epov xai 

ar'ton xmcon' ton epib*'sion bos xmxn' sx^meron : ke 
bred ov us, be dedi, giv tb us t^-de* : and 

aytq fjlHv rd Ocfst/jpara ijfiiov^ d>q xa\ ^ps 7 .q 

a'fes xmxn' ta ofxlx'inata xmcon', cos ke xmxs' 
forgiv tb' us be dets ov us, az ol'sco wx 

dciipz'j rule 6(ft'.A(za f .q ijfi&v' xai pi] etasvirxTjq r { pdq 

afi'emen txs ofxle'tes xmconv : ke mx xsenerj'gxs xmas' 
forgiv be detwz ov usv : and not lxd us 



64 THE PAMPHONETICON. 

elq 7Z£tpa<T/idv aXAd pbffat r^mq aizo rod ro^poo 

xs pxrazmon' ala' rx'se xmas' apo' tw ponxrx* 

in'te temte'cun, but dxh'vur us from bx vvl : 



on gou 


eiortv ij fiaffdeia 


xa£ ^ duvafaq xat 


Q'tl SK* 


es'tm x vasilx'a 


ke x bx'namis ke 


for tn bx 


iz be kirj'dum, 


and be pcp'ur, and 



ij ooqa eiq robq aiwvaq. 'A/J.rjv. 

x box'a xs txs eo v nas. Amxm. 
be glo'n, for bx ec] v iz. Amem. 



THE APPROVED ENGLISH VERSION. 

(In both the Old and the New Orthography.) 

Our Father who art in heaven, hallowed be thy name. 
<X>r Fa'bur h# art in he x vn, had coed bx bi nem v . 

Thy kingdom come. Thy will be done on earth, as it 
Ai kirj'dum kuniv. Ai wil bx dun on ur$, az it 

is in heaven. Give us this day our daily bread, 
iz in henm. Giv us bis de cpr de'h bredw 

And forgive us our debts, as we forgive our debtors. 
And forgiv us cpr clets, az wx forgiv cpr detwz. 

And lead us not into temptation, but deliver us from 
And Ixd us not m'tx temte'cun, but dxh'vur us from 

evil : For thine is the kingdom, and the power, and 
x*vl: For bin iz be kirj'dum, and be pcp'ur, and 

the glory, forever. Amen. 
be glo'ri, fore N vur. Amem. 



THE PAMPH ONETICON. 65 

THE LORD'S PRAYER IN FRENCH, 

As pronounced by Alexandre Pantoleon, A. M., of 

France, now Professor of Languages in the Vocal 

and Polyglot Gymnasium, Philadelphia. 

Explanation. — The first line is the French, in the old orthography; 
the second comprises the same words in Coinstock's Alphabet, and the third 
is a literal translation in this alphabet. 

Notre. Pere qui es aux cieux, ton nom soit 
Notr Per ki a'z a sxu x , ton. neon, swa 

Or Fa'bur h^ art in be he v vnz, bi nem bx 

sanctifie' ; ton regne vienne ; ta volonte' soit faite 
sar\ktifiex ; tcor\ reny vxem; ta volcoi\te' swa fet 
ha x lcoed; bi kirj'dum kumv ; bi wil bx dun 

sur la terre comme au ciel. Donne nous aujourd'hui 
sir la tor kom o sxelv. Don ns'z oj^rdxi' 
on bx urd az in he x vn. Giv us tb T -de 

notre pain quotidien, et pardonne nous nos offenses 
notr pan kotidxerv, e pardon' n« nwz ofai\s' 
q>r bred de v h, and forgiv us cpr tres'pasiz 

comme aussi nous pardonnons a ceux qui nous ont 
kom osx' uk pardonon'z a, su ki n«'z or\'t 
az ol'so wx forgiv tb r bcoz hn us hav 

offenses ; et ne nous abandonne point a la 
ofai\sev ; e nu n^'z abandon' pwai\'t a la 
ofend^ed ; and not us aban'dun not ts bx 

tentation, mais delivre nous du malin ; car si 

taritasicon/, ma delxvr' n^ dx malor\v; kar a 

temte'eun, but dxh'vur us from bx x x vlwun ; for tK 

toi appartient le regne, la puissance, et la 
twa apart iciy lu reny, la pxisans', e la 

bx bxlorjz' be kirj'dum, be pq'ur, and be 

gloire aux siecles des siecles. Amen. 
ghvar o siekl da siekL. Amem. 
glo'ri for ecj'iz ov ecj^iz. Amenv. 



66 THE PAMPHONETICON. 

THE LORD'S PRAYER IN CELTIC, 

As pronounced by Dr. John Roberton, of Scotland, 

now Professor' of Ancient and Modern 

Languages, in Philadelphia. 

Explanation. — The first line is the Celtic, in the old orthography; the 
second comprises the same words in Comstock's alphabet; and the third is 
a literal translation in this alphabet. 

Ar n-Athair a ta air neamh; gu naomhaichear 
Ar n-A'xr a ta er nyev* ; gn nu ; ve\ar 
Or Fa'bur h^ art in he*vn ; bat bx haloed 

t' ainm ; thigeadh do rioghachd ; deanar do thoil 
t' animv ; hi'ga do rxm\t ; dye'nar do hcxl 

bi nemx ; let kum bi kirjdum; let bx dun bi wil 

air an talamh mar a nithear air neamh. Tabhair 
er an ta'luv mar a nx'ar er nyevv. Ta'ver 

on bx ur& az bat me bx dun in he x vn. Giv 

dhuinn an diugh ar n'aran laitheil ; agus maith 

ysny an dyu ar n-a'ran la^el ; a'gus mi 

tx us be de cpr bred de x h ; and forgiv* 

dhuinn ar fiacha amhuil mar a mhaitheas sinne d' ar 
7*sny ar fx a\a a'vil mar a va'yas ci'nx d' ar 
tK us cpr det lik az bat forgiv wx t*j cpr 

lucht-fiach. Agus na leig am buireadh sinn, ach 
l^\t-fx x a\. A'gus na leg am b^'iruy ci'nx, a\ 
det x -pxpl. And not let go m'ts temte'cun us, but 

saor sinn o olc ; oir is leatsa an rioghachd, 
sur cx'ni o olkv ; or is lyet'sa an rx'u\t, 

dxli'vur us from xh t 1 ; for iz ts bx be kirj'dum, 

agus an cumhachd, agus a' gloir, gu siorruidh. 
a'gus an k«'va\t, a'gus a' ylcor, gtf cxrTOi. 
and be pcp'ur, and be glco'ri, ttf e'vur-rumirj. 

Amen. 
Amem. 
Amen\. 



COMSTOCK'S 
SYSTEM OF ELOCUTION. 



RECOMMENDATORY NOTICES. 

Certificates from Professor Horner and Professor Hare 
of the University of Pennsylvania. 

Having been present on the 10th inst. at the exercises of the pupils in 
Dr. Andrew Comstock's Gymnasium, for the improvement of the voice 
and of the articulation in stammerers and others, the impression made 
upon me was highly favourable to his method of instruction. 

The system is founded upon an exact anatomical and physiological 
information, in regard to the organs concerned in the production and 
modification of sound. Its several parts appear to have been evolved 
and matured upon a degree of thought and an extent of experiment 
reflecting much credit upon his sagacity and industry; and it inspires 
a very strong confidence of its applicability to the faults generally of 
speech or phonation. One of his pupils, who only a week before the 
occasion alluded to, had been a most unpleasant stammerer, was then 
heard to recite publicly with great ease and fluency, with a full intona- 
tion. 

W. E. HORNER, M. D. 
Professor of Anatomy in the University of Pennsylvania. 

Philadelphia, Aug. 11, 1837. 

Philadelphia, Aug. 14th, 1837. 
Having been present on the occasion alluded to in the preceding letter 
of the Professor of Anatomy, I have no hesitation in alleging that my 
impressions a*« consistent with those which my colleague has therein 
expressed. 

ROBERT HARE, M. D. 
Professor of Chemistry in the University of Pennsylvania 



From the United States Gazette. 

Congress Hall, Philad., Nov. 25, 1837. 
Andrew Comstock, M. D. 

Dear Sir, — Before leaving your city, allow me to express to you the 
perfect satisfaction I feel, in witnessing the progress which my son ku 
made in Elocution under your instruction. 



The habit of stammering which commenced with his early efforts to 
speak, and which thirteen years (his present age) seemed only to con 
firm, is now, with six weeks instruction, completely eradicated. 

Though delighted beyond expression in this result, I am not disap. 
pointed. From the moment I became acquainted with your method of 
instruction, I did not doubt its entire success. Founded on scientific 
principles, it must succeed in all cases where there is no malformation 
pf the organs of speech. 

You have reduced to a system what before was but imperfectly un- 
derstood, and done most essential service to mankind in elevating a 
numerous class of unfortunate fellow-beings, and saved them from the 
impositions of ignorant and unprincipled empirics. 

Very respectfully, your obedient servant, 

E. PIERCE, M. D., of Athens, N. Y. 

From the Rev. Thomas B. Bradford. 

Philadelphia, April 4, 1842. 
I take great pleasure in recommending Dr. Comstock's System of 
Elocution. A practical acquaintance with the system, and with the 
instructions of its author, enables me to speak with confidence of the 
high superiority of this treatise, and of the ample qualifications of its 
author as an instructor in the art of speaking. 

His course of instruction is exactly adapted to the cure of stammerers; 
and my personal knowledge of the cure of those who have been thus 
afflicted, warrants me in particularly recommending such individuals to 
place themselves under the tuition of Dr. Comstock. 

T. B. BRADFORD. 



From E. C. Wines, A. M., late Professor of Moral, Mental, 

and Political Science in the Central High School of 

Philadelphia. 

Philadelphia, Oct. 22d, 1842. 

I take pleasure in stating that Dr. A. Comstock taught Elocution in 
my school during the whole of last year, and that his System of Elocu- 
tion was used as a text-book. I consider it a work of very great merit, 
admirably adapted to the end for which it was designed. The principles 
of the science are laid down with clearness and ability in the First Part; 
and the selections for practice in the Second Part are made with excel- 
lent judgment. It is a work every way worthy of the public patronage. 

The progress of the pupils in my school under Dr. Comstock's in- 
etructioii was altogether satisfactory. He fully sustained his high repu. 
tation as a teacher of practical elocution. 

E. C. WINES. 

From S. W. Crawford, A. M., Principal of the Academy 
connected with the University of Pennsylvania. 

I have examined Dr. Comstock's Elocution, and agree with Mr, 
Wines in the above recommendation. 

& W, CRAWFORD 



From the Rev. Henry W. Ducachet, M. D., D.D. 

Philadelphia, June 26th, 1843. 
Andrew Comstock, M. D. 

Dear Sir — I have very carefully read the " System of Elocution,' 
&c. published by you. Indeed, ever since I have become acquainted 
witli the work, I have made it a book of reference on that subject. It 
seems to me admirably well adapted to the purposes for which it is de- 
Binned. I have, indeed, no experience in the treatment of" stammering,'' 
or "defective articulation." But your rules for their cure appear very 
natural, and I think cannot fail, in ordinary cases, to be successful. For 
myself, I can say that I have derived from your work, some hints that 
have been most useful to me as a public speaker. I hope the book will 
be appreciated as it deserves, and that you will go on to reap a rich har. 
vest of reputation and profit from your valuable labours in that much 
neglected, but very important art. 

Very respectfully, your ob't serv't, 

HENRY W. DUCACHET, 
Rector of St. Stephen's Church, Philadelphia. 



From G. W. Francis, A. M., Principal of a Family Board- 
ing School, Troy^ N. Y. ; and C. H. Anthony, Esq., 
P?'incipal of the Albany Classical Institute, Albany, 
N. Y. 

We have used Dr. Comstock's System of Elocution for some lime in 
»ur schools, and we do not hesitate to give it the preference to any system 
* T ith which we are acquainted. 

G. W. FRANCIS. 
C. H. ANTHONY. 
Troy,N. Y., Feb. 2d, 1844. 



From the Faculty of the University of Michigan. 

University of Michigan, April 20, 1845. 
We have examined Dr. Comstock's System of Elocution with some 
care, and we are fully persuaded that it is better adapted to assist 
pupils in acquiring a correct, easy and forcible enunciation than any 
other work with which we are acquainted. 

JOSEPH WHITING, A. M. 

Professor of Languages. 

A. TEN BROOK, A. M. 

Professor of Mental and Moral Philosophy 

GEO. P. WILLIAMS, A. M. 

Professor of Mathematics 

O. C. COMSTOCK, A. M., M. D. 
SuperlntencTant of Fabric Instruction. Michigan. 



From Rev. R. Morris, President of Mount Sylvan Academy, 
Mississippi. 
Mount Sylvan Academy, Lafayette Co., Miss., July 20, 1847. 
Dr. Comstock: 

Dear Sir, — We use your Elocution in this Institution, and are una- 
nimous in the opinion that there is no work of the kind within our 
knowledge that will touch it in adaptedness to the wants of schools. 

In my capacity as President of the Association of Teachers, and 
Chairman of a Committee to select Standard School-Books, I recom- 
mended your Elocution, and it was adopted. 

Would not a set of School-Readers from your pen, meet with 
good encouragement ? It seems to me that your name as a champion 
of elocution would give them an immediate passport to popularity. 
I am with great respect, yours, 

R. MORRIS. 



The following is from James Henry, Jun., Esq. , for several 
years Sup't of Common /Schools for the Co. of Herkimer, 

N. Y. (1847.) 

'C0MST0CO SYSTEM OP ELOCUTION, PHONETIC SPEAKER, 
AND CHARTS OP ELEMENTARY SOUNDS. 

The author of these works has spent twenty years in the study 
of the subjects of which they treat, and is probably the best known, 
and the most successful practical Elocutionist in the country. He 
was the first to arrange, in tabular and systematic forms, the 
elements of our language ; and most, if not all, of the numerous 
phonological charts which have appeared, are essentially transcripts 
from, though not improvements of, this author's works. In their 
latest editions, Comstock's books and charts are, beyond question, 
unsurpassed by any thing of their kind which has yet been offered 
the public. Besides the great facilities which they afford for habits 
of correct, elegant, and effective reading and speaking, they present 
also, in graceful and attractive forms, many of those fundamental, 
moral, and political truths, on the right apprehension and practical 
application of which, by the mass of our people, depend the support 
and perpetuity of our free institutions. They also contemplate a 
thorough reformation in our anomalous and barbarous orthography. 



A Letter from the Hon. Ira Ma.yhew, of Michigan. 

Office of Superintendent of Public Instruction, 
Monroe, May 15, 1847. 
Dear Sir : 

I received by yesterday's mail, " Comstock's Phonetic Reader," and 
" Speaker." I had before in my possession (received from some 
unknown source) your " Treatise on Phonology," No. 1, and the 1st, 
2d, 3d, 7th, and 9th Nos. of your " Phonetic Magazine." 

I was unable to give any attention to these works when first received. 
When I got a little time to devote to the subject, I took up the Treatise 
on Phonology, and I was unable to lay it down until I had completed 
its perusal. I placed it in the hands of my children, and judge what 
was my surprise to hear a daughter not yet six years old, read the 
first chapter of Genesis fluently, in less than one hour from the time 
she first saw a Phonetic character ! 

I wish you every possible success in your efforts to facilitate the 
acquisition of the English language. Permit me, sir, to express the 
hope that, when you shall have prepared the necessary elementary 
books, Phonology will become a common branch of study in the pri- 
mary schools of this, and other States of the Union. 

Very truly yours, 
IRA MAYHEW, Sup't. Public Instruction. 
To Andrew Comstock, M. D., Philadelphia. 



A Letter from J. K. Mitchell, M. J)., the Professor of the 
Theory and Practice of Medicine, in Jefferson Medical 
College, Philadelphia, and a Member of the American 
Philosophical Society. 

Philadelphia, June 28, 1851. 
Andrew Comstock, M. D. 

Dear Sir — From a critical examination of your great theory of 
phonetics, I am glad to find that the system has already attained to 
completion. To me it is truly gratifying to learn that an alphabet 
exists which is strictly representative, not only of all the sounds, but 
of their various modifications in speech, in every language in which 
books are written upon the arts and sciences. I am glad to perceive this, 
because I consider a universal alphabet of the greatest value to the 
civilized world. A knowledge of your system enables the student, at 
once and always, to read every book printed conformably to it, not 
only in English, but in French, German, Latin, Greek, Spanish, 
Italian, &c. The greatest obstacle to the acquisition of one's verna- 
cular, or any other language, is thus entirely removed, and the learner 
finds the only insuperable impediment to self-instruction totally ob- 
viated. Not only will your system of phonetics do these things, but it will 
produce that uniformity of pronunciation so desirable and so elegant. 

I esteem your efforts of the greatest value, because I perceive that 
the dream of Franklin has become, in your hands, a profound reality. 
I remain, dear sir, truly yours, 

J. K. MITCHELL. 



32 RECOMMENDATIONS. 

From the Philadelphia Saturday Courier, April 3, 1841. 
CURE OF STAMMERING. 

Two young gentlemen called in our sanctum the other morning, and we 
had a pleasant conversation with them on the extraordinary benefit they had 
derived from having been a few weeks in the Vocal Gymnasium of Dr. Corn- 
stock. One of them, John Scribner, jr., is from Poplin, N. H. He told us, 
that fourteen weeks ago he could not converse at all without stammering in 
the pronunciation of almost e- ery word. He conversed with us the morning 
we saw him, as fluently as Daniel Webster or Mr. Forsyth could ; and we 
should say his friends will be delighted to hold converse with him on his re- 
turn to the salubrious atmosphere of the " Granite State." The other young 
gentleman is Mr. William H. Cornell, of Clinton, New York. He is eighteen 
years old, and had been a stammerer all his life, until Dr. Comstock had the 
gratification of receiving him under his discipline of the vocal powers. He 
has been there but four weeks, and conversed with us with very little impedi- 
ment of speech ; and by the first of May, when he proposes to return to the 
beautiful region of Dutchess county, he will be able to descant upon the 
sweets of the " buds and the flowers " with as much buoyancy of speech as 
the most lovely young damsel around his romantic home. We are happy in 
stating such cases, for the encouragement of others in distant portions of the 
country, who may be labouring under the painful difficulties which impedi- 
ments of speech impose. 



From the National Gazette, Philadelphia, Nov. 17, 1841. 
A STAMMERER CURED. 

Philadelphia, Nov. 10, 1841. 
Messrs. Editors — For nearly twenty years I was an inveterate stammerer 
The habit was contracted when I was four years old, in consequence of the 
severe treatment of a schoolmaster. Being anxious to have a cure f effected, if 
possible, but almost despairing, I placed myself, six weeks ago, under the 
care of Dr. Andrew Comstock of this city, and the result has been a most 
happy one. Since the third day after I entered his Vocal Gymnasium, I have 
been able to converse with friends and strangers, without any impediment 
whatever. I unhesitatingly recommend all who stammer to make a trial of 
Dr. C.'s mode of treatment. It is founded on philosophical principles, and I 
feel confident, if persevered in, will always produce the same beneficial results 
as my own case. I shall reside, during the winter, at No. 200 Arch Street, 
where I shall be happy to receive a visit from any one who may desire far- 
ther information on the subject. Respectfully, 

LEVI S. YATES, of Williamston, N. C, 
Student of Medicine in the University of Pennsylvania. 

From the Philadelphia Saturday Courier, July 21, 1838. 
STAMMERERS. 
We notice as an interesting fact, that C. H. J. Pijrman, Esq., (a young gentleman who 
was recently in our office, while under the care of Dr. Comstock," for stammering,) de- 
.ivered the oration at Cumberland, Md., on the 4th instant. It was a clear and distinct 
performance, and was well received by a large auditory. A copy in print has been re- 
ceived by us. The Civilian of that place remarks, that the enunciation of Mr. Pigman 
is so clear, that if it had not previously been known that he had laboured severely under 
an impediment, none who hear him speak would be aware that he had ever been troubled 
with such a difficulty. Mr. Pigman and his friends (who are highly respectable), unite 
in bestowing great credit upon the scientific skill of Dr. Comstock. We think we do 
unfortunate stammerers a kindness by commending this gentleman to their consideration 






RECOMMENDATIONS. 19 

From the Pennsylvanian, Philadelphia, April 26, 1838. 
A GRATIFYING TESTIMONIAL. 

The subjoined letter to Dr. Comstock, Professor of Elocution, of this city, 
is from a young gentleman of great respectability, residing at Cumberland, 
Allegany county, Maryland, where his father is one of the leading prac- 
titioners at the bar. The writer of the letter, who, we believe, is a student 
at law, laboured under a serious impediment in speech, which would have 
greatly interfered with his professional advancement; but it appears from his 
own statement, that under the care of Dr. Comstock, he was completely and 
radically cured. The letter subjoined, is a voluntary and grateful testimonial 
to that effect 

Cumberland, Md., April 20, 1838. 
Dr. Andrew Comstock : 

Dear Sir, — I have deferred giving a certificate with regard to the success 
I met with in my recent visit to your Institution, No. 100, Arch street, Phi- 
ladelphia, for the purpose of removing an impediment in my speech, until 
the present period, that I might thoroughly test the effects of your systcn: 
upon my articulation by time and experience. Both of these, I am happy 
to inform you, find me now — as was the case when I left Philadelphia on 
the 13th of February last — perfectly fluent in reading as well as in conversa- 
tion — so much so, that it would be impossible for any one who had no pre- 
vious knowledge of my impediment, to know that any such defect ever 
afflicted me. 

But besides the happy effect your system has had in relieving my impedi- 
ment, it has been of incalculable benefit to me in many other respects. My 
voice, which was formerly weak, and incapable of being raised very little 
higher than the ordinary tone used in common conversation, has been 
greatly improved and strengthened ; and now it costs me but a slight 
physical effort to fill a considerable space. 

In conclusion, I unhesitatingly recommend all those similarly afflicted, to 
make a trial of your system. Besides the success which has attended it in 
my own case, I have seen many others greatly benefited — both ladies and 
gentlemen. This speaks more strongly in its favour than words can express, 
»nd should remove all doubt from the minds of individuals, if any exist, as 
to its efficacy in effecting a cure. 

Very respectfully, your obedient servant, 

CHARLES H. J. PIGMAN. 



@Cr 



if 



-^DS 



ELOCUTION TAUGHT — STAMMERING CURED. 




DR. COMSTOCK'S 

YOCAL GYMNASIUM, 

No. 102 ARCH STREET, PHILADELPHIA. 



II. 

ma 



This Institution, •which has been in successful operation since 1828, is designed f< 
the Promotion of Health, the Cure of Stammering and Defective Articulation, for 
Instruction in Elocution and Phonetics, and for the Acquisition of Ancient and 
Modern Languages. 

In this Institution, Elocution is treated as a science, as welLas an art. The various 
movements of the voice, both in speech and song, are illustrated by original diagrams 
and by oral instruction. The exercises giVe the pupil complete command of the mus- 
cles of articulation, extend th* compass of the voice, and render it smooth, powerful, 
and melodious. They not only call forth all the energies of the vocal organs, correct 
stammering, lisping, and other impediments of speech, but they invigorate the lungs, 
and, consequently, fortify them against the invasion of disease. The vocal exercises 
are not unfrequently accompanied by gesticulation, or the use of the dumb-bells. 
Hence, to a certain extent, general gymnastics are associated with those of the voice: 
and awkwardness of manner and posture is removed by the substitution of rhetorical 
grace. In other words, all the voluntary muscles of the trunk and limbs are so 
trained as to move in the order required by the will, synchronously and harmoni- 
ously with those of the voice. 

TICKETS PER COURSE. 

For Instructing the Dumb to Speak 1 year $1000 

Instruction for the Cure of Stammering 10 weeks ! 

Correction of Defective Articulation 50 private lessons 

Private Instruction in Elocution 30 lessons, each 1 hour 

Instruction in Elocution, in a class CO lessons, each 1 h. 30 min.... 

Instruction in Elocution, in the evening class.. 30 lessons, each 1 h. 30 min.... 
Instruction in Languages 30 lessons, in a class 

Jg@^The ticket, in each case, to be paid for in advance. Board, in the Institution, 
from $5 to $10 per week, in advance. 

J91r* Xo one can become a pupil in the Vocal Gymnasium, who spits on the floor, 
or is not otherwise cleanly in his habit — no member of the Institution is allowed to use 
tobacco in any jorm. 

ANDREW COMSTOCK, M.D, Principal, 
No. 102 Arch Street, Philadelphia, Pa. 



LIBRARY OF CONGRESS 

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LIBRARY OF CONGRESS 



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